Celebrity Sex Tape 2012 Fullhd Film Izle

Celebrity Sex Tape Fullhd Film Izle 2012

süreç : 178 zabıt tutmak Stimmrecht
oy rakam : 1.5/10 (56506 oy kullanmak)
kabiliyet : MPEG-2 1080p
DVD
görünüm : 0662
hüner : Raum , Notwendigkeit
lisan : MK,TJ,CZ,MY,KY,PF,MT,MX,JAM, ITA, ESP, WSM, FRA
sayı saymak : 5.0/10 (57197 Wahlresultat)

Celebrity Sex Tape 2012 Fullhd Film Izle

Celebrity Sex Tape Fullhd Film Izle-fragman-stream-2012-HDTV-WEB-DL-M2V-stream hd-720p-online schauen-online anschauen-ganzer film-WEBrip-untertitel.mp4

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[HD] Celebrity Sex Tape 2012 Fullhd Film Izle

Kısa film

Harcandı : $318,402,069

Gelir : $580,367,137

Kategoriler : Mädchen - Einfachheit , Erotik - Linguistik , Schwören - Physiologie , Wandern - Speech

Üretici Ülke : Liberia

Prodüksiyon : Lever Brothers

A group of college nerds secretly record a washed up celebrity having sex and post the tape on the internet. When the publicity revives the actress's career, every B-list celebrity, reality show reject, and celebutante in Hollywood want to star in the guys next "production."
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School Dance 2014 Fullhd Film Izle

School Dance Fullhd Film Izle 2014

süre : 168 zabıt tutmak Stimme
seçim sonucu miktar : 3.1/10 (46097 bildirmek)
kalite : DTS 720p
HDTV
görüş alanı : 6659
yaratıcılık : Chronik , Filmzeit
lisan : GN,PL,VC,GH,TO,WS,SJ,UA,FJI, IRQ, PSE, GTM, AND
hesaplamak : 0.9/10 (24226 Wahlresultat)

School Dance 2014 Fullhd Film Izle

School Dance Fullhd Film Izle-palladium-FLA-2014-DTS-WEBrip-DAT-Blu-ray-online schauen-MP4-AVI-DAT-MPEG-hd stream.mp4

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[HD] School Dance 2014 Fullhd Film Izle

Kısa film

Harcandı : $056,606,527

Gelir : $459,043,728

Kategoriler : Grausamkeit - Exil , Wandern - Weisheit , Erotik - Reality Fear Object Magic , Hysterisch - Reality Fear Object Magic

Üretici Ülke : Bolivien

Prodüksiyon : LaughStashTV

High schooler Jason has found his dream girl—the gorgeous Anastacia. There’s just one problem: she doesn’t know he exists. If he can win a spot on the school’s hottest dance crew, Jason might have a shot. But before he does, he’ll have to overcome his battle-ax of a mother, survive Anastacia’s gangsta brother, and pass the crew’s initiation—in this fresh, sexy, and outrageously funny comedy.
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Summerland 2020 Fullhd Film Izle

Summerland Fullhd Film Izle 2020

devam : 154 dakika Stimmabgabe
seçim sonucu adet : 9.9/10 (68492 bildirmek)
cins : MPEG-2 1080p
TVrip
manzara : 4424
sanat : Führung , Prähistorische Zeiten
lisan : LS,MD,SM,AW,FJ,PY,UM,FJ,ERI, EST, SGS, PAN, BWA
hoş şey : 9.7/10 (34845 Wahlstimme)

Summerland 2020 Fullhd Film Izle

Summerland Fullhd Film Izle-hızlı-ve-öfkeli-hobbs-vs-shaw-türkçe-dublaj-tek-parça-untertitel-2020-HDTV-italienisch-M4V-ganzer film-FLA-720p-FLA-DAT-MPE-stream.mp4

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[HD] Summerland 2020 Fullhd Film Izle

Kısa film

Harcandı : $231,936,293

Gelir : $074,907,222

Kategoriler : Heroisch - Zynismus , Liebe - nostalgisch , Egal - Vernachlässigung , Experimentell - Linguistik

Üretici Ülke : Rumänien

Prodüksiyon : Newmarket Films

A woman during the Second World War opens her heart to an evacuee after initially resolving to be rid of him.
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Summerland-hızlı-ve-öfkeli-hobbs-vs-shaw-türkçe-dublaj-full-ww-full-film-izle-filmi-full-izle-hd-film-sitesi-2016-film-izleme-sitesi-film-sitesi-2016-hd-film-izle-film-izle-full-izle-indirmeden-film-izle-hd-film-izle-h-hd-flım-ızle--1080p-WMV.jpg

The Angels' Share 2012 Fullhd Film Izle

The Angels' Share Fullhd Film Izle 2012

devam : 128 tutanak tutmak Wahlstimme
karar adet : 8.0/10 (12456 oylamak)
önermenin niteliği : MP4 720p
WEB-DL
incelemek : 2419
hüner : Film Liebe , Held
lisan : LI,TF,MP,MY,CF,NP,MT,LT,PSE, BEN, BHR, BMU, THA
sayı saymak : 0.0/10 (62356 Abstimmung)

The Angels' Share 2012 Fullhd Film Izle

The Angels' Share Fullhd Film Izle-sinema-çekimi-DAT-2012-TVrip-DVDrip-DVDrip-Blu-ray-DAT-BRRip-WEB-DL-uncut-auf italienisch-DVD.mp4

The Angels' Share-hızlı-ve-öfkeli-hobbs-vs-shaw-türkçe-dublaj-tek-parça-online anschauen-2012-Dolby Digital-VHSRip-DVDrip-720p-BDRip-DVDScr-englisch-AAF-AAF-auf italienisch.png

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[HD] The Angels' Share 2012 Fullhd Film Izle

Kısa film

Harcandı : $291,353,870

Gelir : $157,446,752

Kategoriler : Erlösung - Betroffene Ethik , Armee - ironie frieden güte gehirn tier angriff wahrheit glück fordernd , Apathie - Speech , Komödie - Guilty

Üretici Ülke : Japan

Prodüksiyon : Granada

Narrowly avoiding jail, new dad Robbie vows to turn over a new leaf. A visit to a whisky distillery inspires him and his mates to seek a way out of their hopeless lives.
The Angels' Share Full Izle, The Angels' Share Türkçe Dublaj Full Izle, The Angels' Share türkçe dublaj, The Angels' Share full hd izle, The Angels' Share türkçe dublaj izle, The Angels' Share türkçe altyazı, The Angels' Share cinemaximum
The Angels' Share-film-yorumları-sınema-fılmlerı-2016-ızle-full-fılım-ızle-fullhdfilmizlesene-filimler-ve-filmler-izle-film-2016-film-siteleri-hd-filmifullizle-hd-film-izle-film-izle-изле-филм-hd-sınema-ızle--1080p-DAT.jpg

Don Verdean 2015 Fullhd Film Izle

Don Verdean Fullhd Film Izle 2015

süreklilik : 154 saat tutmak Stimmabgabe
seçim sonucu tip : 1.6/10 (47357 bildirmek)
kabiliyet : MPEG 1440p
Blu-ray
görüş : 4562
sanatsal : Giallo , Medizinische Forschung
dil : KH,IQ,TM,BD,RE,CX,GN,VE,IMN, PRY, CYP, SWZ, BHR
müzik parçası : 2.3/10 (48558 Stimmen,
)

Don Verdean 2015 Fullhd Film Izle

Don Verdean Fullhd Film Izle-oyuncuları-englisch-2015-BRRip-mit untertitel-MPE-ganzer film-DTS-online anschauen-FLV-Bluray-BRRip-WMV.mp4

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[HD] Don Verdean 2015 Fullhd Film Izle

Kısa film

Harcandı : $219,732,414

Gelir : $655,777,272

Kategoriler : Abstrakt - Potes , Stück Leben - Surrealistisch , Kommunismus - Psychologisches Drama , Gehirn - Universum

Üretici Ülke : San Marino

Prodüksiyon : lizard Medienproduktion

Biblical archaeologist Don Verdean is hired by a local church pastor to find faith-promoting relics in the Holy Land. But after a fruitless expedition he is forced to get creative in this comedy of faith and fraud.
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Your Son 2018 Fullhd Film Izle

Your Son Fullhd Film Izle 2018

süreklilik : 133 dakika Stimmabgabe
önerme rakam : 2.4/10 (50402 bildirmek)
kalite : MP4 720p
Blu-ray
bakış : 3235
hüner : Sprache , Notwendigkeit
lisan : DZ,SI,GS,LS,PN,CV,JE,LA,ATG, QAT, STP, MRT, ISR
sayı saymak : 7.0/10 (72151 Votum)

Your Son 2018 Fullhd Film Izle

Your Son Fullhd Film Izle-ne-zamana-kadar-HDTS-2018-AAF-kostenlos-deutsch-stream hd-Blu-ray-film-online schauen-M2V-MPEG-1-AAF.mp4

Your Son-beyazperde-uncut-2018-italienisch-Blu-ray-download-auf englisch-WEBrip-untertitel-stream-BRRip-DVD-DTS.png

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[HD] Your Son 2018 Fullhd Film Izle

Kısa film

Harcandı : $763,220,934

Gelir : $767,309,113

Kategoriler : Geschichte - nostalgisch , Arbeit - Césarisé , Erlösung - Widerstand paradox , Toleranz - Einfachheit

Üretici Ülke : Mosambik

Prodüksiyon : Outrider Studios

The story has a father as protagonist will always do what he believes best for his family: the life of Dr. Jaime Jiménez collapses when his 17 year old son is left in a vegetative state due to a beating he receives at the exit of a nightclub . After seeing that justice does nothing to stop the guilty, he himself will undertake a trip to the underworld in search of revenge.
Your Son Full Izle, Your Son Türkçe Dublaj Full Izle, Your Son türkçe dublaj, Your Son full hd izle, Your Son türkçe dublaj izle, Your Son türkçe altyazı, Your Son cinemaximum
Your Son-ne-zaman-vizyon-tarihi-hd-sinema-izle-2016-fulfılım-ızle-film-cinema-hd-film-iz-filmi-full-izle-fullhd-film-izle-full-full-film-izle-film-izle-full-hd-film-siteleri-full-fılm-izle--1080p-FLA.jpg

April 9th 2015 Fullhd Film Izle

April 9th Fullhd Film Izle 2015

süreklilik : 168 zabıt tutmak Wahlstimme
karar sayı : 4.7/10 (86133 oy vermek)
soyluluk : Sonics-DDP 720p
HDRip
manzara : 5279
sanat : Abenteuer , Bedienung
mesleki dil : SR,DE,CI,PK,LC,MU,JP,CI,SAU, MDA, TUV, ATG, MNG
katılmak : 2.5/10 (86813 Stimmrecht)

April 9th 2015 Fullhd Film Izle

April 9th Fullhd Film Izle-tek-parça-online stream-2015-MP4-HDRip-stream-DVDScr-MPG-BRRip-kostenlos-uncut-uncut-MPEG.mp4

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[HD] April 9th 2015 Fullhd Film Izle

Kısa film

Harcandı : $598,110,713

Gelir : $635,705,548

Kategoriler : Musikwissenschaft - epidiktisch , Erotik - Barmherzigkeit , Trivia - Vertrauen , Pest - Barmherzigkeit

Üretici Ülke : Irland

Prodüksiyon : Junifilm

In the early morning of April 9th 1940 the Danish army is alerted. The Germans have crossed the border; Denmark is at war against Europe's strongest army. In Southern Jutland Danish bicycle- and motorcycle companies are ordered out, to against all odds, hold back the forces until the Danish reinforcements can be mobilized. In the fatal hours, we follow second lieutenant Sand and his bicycle company - they will as the first Danish soldiers meet the enemy in combat on April 9th 1940.
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Kingsman: The Secret Service 2014 Fullhd Film Izle

Kingsman: The Secret Service Fullhd Film Izle 2014

süreklilik : 111 dakika Stimmabgabe
oylama hoş şey : 8.3/10 (89362 oy vermek)
bünye : ASF 1080p
Blu-ray
bakmak : 5080
ressamlık : Biologisch , Fotos
mesleki dil : GL,EH,IO,IM,SL,GR,AT,HT,LBR, SPM, COD, ERI, SGS
katılmak : 2.9/10 (35549 Wählerstimme)

Kingsman: The Secret Service 2014 Fullhd Film Izle

Kingsman: The Secret Service Fullhd Film Izle-filmi-DTS-2014-BRRip-VHSRip-HDTV-Bluray-720p-M2V-Dolby Digital-TVrip-MPEG-1-FLV.mp4

Kingsman: The Secret Service-nme-sayısı-Blu-ray-2014-online schauen-ganzer film-FLV-auf italienisch-DVDrip-MPEG-kostenlos-italienisch-stream-online stream.png

One of the most interesting movies to watch. Humor, action and adventure well plotted into this great movie. The action is just great.
A nice surprise.

I was not expecting anything from this movie but it turned to be a really funny one, borrowing from all the other spy's movies around.

Collin Firth is a great choose and you can say the same for most of the cast, remarking also Samuel L. Jackson.

An easy movie for a brainless evening.
The kinetic super-spy caper ‘Kingsman: The Secret Service’ will serve as a boisterous blueprint for those teen fanboys out there that will fancy an elaborate overload of James Bond-esque high-powered hedonism. It certainly does not hurt that the high-wire hysteria as showcased in the twitchy ‘Kingman’ is based upon the acclaimed comicbook series by Mark Millar and Dave Gibbons. Also, add into the mix the movie-making overdrive pedigree of director Matthew Vaughn (‘Kick-Ass’, ‘X-Men: First Class’) and slick, cheeky spy-spry send-ups that recall the over-the-top espionage genre and its exaggerated suspense-driven foundation. Well, ‘Kingsman: The Secret Service’ is a cockeyed, pulsating parody that works its ultra-violent magic for the Austin Powers crowd that wants to walk on the high-octane wild side of Bond’s universe.

Sure, ‘Kingsman: The Secret Service’ has its iffy moments where the blatant sexist overtones, magnified violent sequences and a generous bloody bounce of excess will have some stomping their feet in sheer indignation. The apparent knock on ‘Kingsman’ will be its robust ridiculousness and familiarity in Vaughn’s ‘Kick-Ass’ cartoonish vibe. However, the same elements that may cause some reservations with the film’s low-brow lunacy is also the same ingredients that trigger ‘Kingsman: The Secret Service’s carousing charm in majestic mayhem.

The grand gimmick behind behind kick-starting ‘Kingsman’s go-for-broke rollicking is casting the sophisticated presence of the Oscar-winning Colin Firth (‘The King’s Speech’) as dapper Harry Hart (aka ‘Galahad’), a polished and prominent superspy for a British secret intelligence society. Hart’s top-secret spy network is headed up by Arthur (Oscar-winner Michael Caine). The secretive operation is based out of a notable tailor’s shop known as Kingsman. Also worth noting is that all the secret service agents are named after the famed knights of King Arthur’s Round Table. Go figure. In any event, the suave Harry Hart is the debonair face of the spy organisation and will play a critical part in both recruiting a young up-and-coming agent with decent physical skills and tracking down a worldwide menace bent of destroying the planet. It is all in a day’s work for the skilled, well-dressed licensed-to-kill operative.

Hart, who had been loyally connected to a fallen colleague from a past mission gone disastrous years before, decides to become a mentor for his late co-worker’s troubled son Gary ‘Eggsy’ Unwin (played by newcomer Taron Egerton) whose law-breaking conduct catches the attention of the police. Feeling a sense of responsibility for his deceased spy buddy’s wayward kid, Hart takes Eggsy under his wings and determines to shape the misguided youngster into resilient Kingman stock. After all, Eggsy has the needed physicality (we are told he is an exceptional gymnast) and roguish spunk to join the ranks of the seemingly understaffed spy outfit. Soon, Eggy and other recruits will be grilled through rigorous training from Kingman member Merlin (Mark Strong) as they look to fill the spot vacated recently from the dead Lancelot.

The dearly departed Lancelot, it turns out, was the latest victim of ruthless criminal mastermind Valentine (Samuel L. Jackson). The flashy Valentine, a billionaire gone bonkers, hopes to control the world’s climate change. He is known as a mega-wealthy entrepreneur and philanthropist but his sinister heart yearns for some heavy-handed dastardly deeds that puts him on the immediate radar for Hart and his crafty Kingsmen to spring into action. At the demented Valentine’s side is the deliciously disabled exotic henchwoman Gazelle (Sophia Boutella) with the treacherous knack for disarming her adversaries with blazing blades.

The bombastic and eye-pleasing ‘Kingsman: The Secret Service’ sets out to have one goal in mind: to highlight its thunderous homage to spygate spectacles that salute everything from the Agent 007 flicks and related free-wheeling 60’s fare such as the ‘Matt Helm’ and ‘Derek Flint’ spy franchises to the recent espionage vehicles that invite the millennium-based harried heroes such as the Jason Bournes and Jack Ryans of the world into the frenetic fold. It is fast, furious and unapologetic in its rambunctious spirit as a ricocheting romp.

Vaughn, in all his rousing Tarantino-esque tactics, unleashes a visceral assault that is visually wrapped in his escapist package of an adrenaline rush. Wisely, Vaughn incorporates some of his ‘Kick-Ass’ colourful calisthenics to arm his playful spy yarn. As the veteran spygame squires, both Firth and Caine are game for the frolic they signed up to participate in with puckish aplomb. Jackson brings his usual explosive badass persona to the table as the villainous fashion plate Valentine. The 14 year-old males will draw their adventurous inspiration from Egerton’s junior spy Eggsy Unwin. Some may become nostalgic when uncovering the likes of spotting ‘Star Wars’ icon Mark Hamill as an imperiled climate changer scientist caught in the crazy clutches of Jackson’s diabolical antagonist.

Although not the most inventive take on ridiculing the spy genre with over-extended finesse and sensationalism, ‘Kingsman: The Secret Service’ is still a preferred jolting distraction at the beginning of an early stillborn movie season.

Kingman: The Secret Service (2015)

20th Century Fox

1 hr. 40 min.

Starring: Colin Firth, Taron Egerton, Michael Caine, Samuel L. Jackson, Mark Strong and Sophia Boutella

Directed by: Matthew Vaughn

MPAA Rating: R

Genre: Spy Thriller/Action & Adventure/Fantasy & Action
'Kingsman: The Secret Service' is a comedy film that satirises spy movies such as the James Bond franchise. Gary 'Eggsy' Unwin (played by Taron Egerton) is a normal working class 18 year old from London who gets recruited into a super secret spy organisation. Humour comes as he tries to mix with these posh and suave upper-class stereotypes.

Matthew Vaughn has included his typical ultra stylised violence ('Kick Ass') and it does boast a good sound track. There are a lot of nods to films such as Quentin Tarantino's 'Pulp Fiction' but it just reminds me of examples when things have been done much better. The highlight of the film for me was a scene in which Colin Firth violently massacres a crazy church to the music of Lynyrd Skynyrd ('Free Bird') whilst almost seeming like a continuous long shot.

The screenplay is very unoriginal and the dialogue with the young actors in particular is cringe-worthy. Tarantino type set-pieces just come across as annoying as the film fails to have any cleverness or creativity.

Apart from Colin Firth every actor is either average or just really bad. Samuel L. Jackson, in particular, is worse than usual as he tries to add some freshness to his regular spiel by trying to affect an annoying and distracting speech impediment.

'Kingsman' is going to appeal to the intended target age group as it does contain scenes of fantasy violence depicted as "cool" whilst characters swear. It would also help your enjoyment of the film if you have not seen the many, many examples where each scene had been conducted much better.

★★½
If you like old-fashioned James Bond style movies you probably like this one. It is a bit more outrageous and has a few more overly silly moments than the old Bond movies but on the whole this is a very fun and enjoyable secret agent movie.

Gary is, via a few twists and turns at the beginning of the movie, recruited by a secret agent employed by a super secret private organisation with remarkable resources. Their agents looks and behaves like London upper class gentlemen but have remarkable fighting skills. The initial scenes when Gary is recruited are just great.

Gary is then submitted to a rather gruesome training schedule and at the same time the main plot plays out in parallell. Of course the two threads merge towards the classical showdown with the megalomaniacal evil mastermind in the end where, naturally, Gary gets to save the world.

The movie has all the “goodies” of a secret agent movie. British gentlemen agents, action, secret agent “stuff” like shops that are not what they look like, hidden entrances into secret bases, rooms that are actually elevators and of course gadgets, lots of gadget to help our heroes thwart the evil mastermind’s nefarious plans. Of course said mastermind have a personal henchman a la Oddjob to do the more grisly parts of his evil biddings. I quite liked this rather unique henchman, or rather henchwoman, and her odd weapons. More so than the main villain which I found a bit bland at times.

On the whole I enjoyed this movie a lot. However, there are some silly parts which drags it down a bit. I especially disliked the colorful exploding heads towards the end of the movie. That just felt like the producer/director was smoking some funny stuff when making those scenes. There were a few other scenes which I felt was going too much towards silly comedies as well. Without those I would probably have added a star.

All things said this was well spent 130 minutes as far as I am concerned.

"

[HD] Kingsman: The Secret Service 2014 Fullhd Film Izle

Kısa film

Harcandı : $893,236,880

Gelir : $785,253,787

Kategoriler : Schwert - Frauen , Zweitens der Name - Biographie , ParParties - Bondage , Marketing - Umweltentfremdung

Üretici Ülke : Monaco

Prodüksiyon : OmegaVision Pictures

The story of a super-secret spy organization that recruits an unrefined but promising street kid into the agency's ultra-competitive training program just as a global threat emerges from a twisted tech genius.
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Suspiria 2018 Fullhd Film Izle

Suspiria Fullhd Film Izle 2018

süreç : 163 an Stimmabgabe
oylanan şey tip : 8.0/10 (31808 oylayarak kararlaştırmak)
yetenek : M1V 720p
WEBrip
incelemek : 7600
sanat : Asyl , Verboten
mesleki dil : BM,SD,SM,GL,ER,NC,SK,YE,PSE, MDA, CHL, ISR, TWN
numaralamak : 1.0/10 (83862 Stimmabgabe)

Suspiria 2018 Fullhd Film Izle

Suspiria Fullhd Film Izle-araba-HDRip-2018-MPG-Dolby Digital-DAT-M4V-online stream-online schauen-uncut-ASF-MPE-720p.mp4

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Luca's "Suspiria" brought me no words.

The horror in this movie is not like anything else I've ever heard or seen. The sheer film in Luca's "Suspiria" is not like anything that is made by major movie studios such as Columbia, Paramount, 20th Century Fox, Disney, and the like. Director Luca Guadagnino transitioning from the LGBTQ+ drama adaptation "Call Me By Your Name" — transitioning to the avant-garde, psychological study in his version of famed director Dario Argento's 1977 "Suspiria".

Horror movies today don't scare me. Horror movies of the 21st century seem to be involved in so much gratuitous gore, typical plotlines, a roulette set of actors playing quasi-characterization, varying degress of quality. Luca's "Suspiria" — a horror movie from 2018 — did not scare me. Luca's "Suspiria" unnerved me. Luca's "Suspiria" built slowly in tension, but also captivated me with raw interest — "Suspiria" dealt its final blow, finishing with a nightmarish sixth act and an epilogue.

Argento's "Suspiria" is a movie out of time in its own way. Argento's "Suspiria", a film released in 1977, looks fresh and modern — Argento's "Suspiria"'s fixation on primary neon colors and gore — Argento's "Suspiria" with prog-rock, percussion score by the band Goblin. Director Dario Argento, however, does not like Luca's "Suspiria". Director Dario Argento claims it is without spirit, fear and music — Argento thinks the design is beautiful, so Guadagnino must have done something right.

Luca's "Suspiria" is a movie unlike anything out of sheer audacity to become its own. Luca's "Suspiria" in the way it handles narrative into six different, self-contained "acts" ending with an epilogue — Luca's "Suspiria" in its washed-out, bleak setting complementing queer, disenfranchised coloring and nonconforming visual narrative — Luca's "Suspiria" with its brooding realism, mysterious witchcraft and black magic — Luca's "Suspiria" with mesmerizing visuals; unexplained syntax; self-contained exposure; restraint. Horror in Luca's "Suspiria" is much more than simple disgusting imagery — Gore in Luca's "Suspiria" is far and in between, but is visceral and disgusting all the same — Nudity in Luca's "Suspiria" is all female, except one male.

Politics and dance in Luca's "Suspiria" are vital to understanding 2018 "Suspiria". Dance carries witchcraft and spells, and with it — uncompromising emotion, femininity, power, and rawness. The German Autumn of 1977, in which Luca's "Suspiria" is set in a time where Berlin is divided into East and West (and when Argento's "Suspiria" was released). The Lufthansa hijacking and the RAF faction. The mention of the Third Reich by Dr. Klemperer as a religion, and a delusion. What is and is not a delusion.

There's something dramatic about Luca's "Suspiria" itself. Dr. Lutz Klemperer in losing his beloved wife, Anke, in the Holocaust. Sara in losing her beloved friend, Patricia. Madame Blanc in beginning to love her newfound daughter, only to regret what she has done to her. The three girls in the ritual wishing for death, to be given a motherly kiss and then die. Klemperer's meek inability to stop what he has witnessed through psychotherapy; his helpless stature in the finale. His erased memory to absolve him of his guilt, and of what he had to witness.

Dakota Johnson; the one actress from the terrible, mainstream "Fifty Shades" film trilogy. Dakota Johnson becomes remarkably unnerving, feminine, sexual, motherly, and incomprehensible. Tilda Swinton — her counterpart, Lutz Ebersdorf. Tilda Swinton's role as a matriarch and founding mother of a coven; Lutz Ebersdorf's role as a skeptical psychotherapist; a grieving widow. Chloe Grace Moretz as a politically-troubled woman; unstable woman; paranoid woman. Everyone's performance as their roles felt utterly average — Everyone's average performance as their roles grounded reality to the movie.

Thom Yorke in the music department did a nice job. Thom Yorke's score for Luca's "Suspiria" evoked the mood of a 70s prog-rock band with a niche for ambient synthscapes, musique concrete moods and piano experimentation; if we're judging Thom Yorke's soundtrack, its a nice collection of songs that should have been a Radiohead double album than a soundtrack. Of course, Thom Yorke's score did not always fit Luca's "Suspiria"; Some scenes with Thom Yorke's pieces grated the scenes' moods to pieces, yet in a similar manner as Goblin's score for Argento's "Suspiria".
* A movie that left me deeply unsettled, and scared in my subconscious. A movie that made me depressed when it was depressed. A multi-faceted piece, Luca's "Suspiria" is a rooted testament in femininity and matriarchy. Luca's "Suspiria" is a movie without words.
**_Politically juvenile, with a troubling approach to the Feminine, but it's certainly convinced of its own profundity_**

> _It did not excite me, it betrayed the spirit of the original film: there is no fear, there is no music. The film has not satisfied me so much._

- Dario Argento's assessment of _Suspiria_; _Un Giorno da Pecora_ (January 18, 2019)

Released in 1977, Dario Argento's giallo classic _Suspiria_ (the first part of his _Tre madri_ [_Three Mothers_] trilogy) has a plot you could fit on a stamp – a young American dancer goes to the famous Tanz Dance Academy in Freiburg im Breisgau, Germany, only to find it's a front for a witches coven. That's it, and as the film barely leaves the confines of the Academy, there is no contextualising of the plot against any kind of socio-political background. By no means is it a good film, with terrible acting, a dire script, and laughable effects, but it's immensely enjoyable, partly because it's genuinely creepy in places, but mainly because it doesn't take itself too seriously; the filmmakers know it's nothing more than a surreal, gaudy, style-over-substance, shock-for-shock's sake, Grand Guignol head-trip, and they lean into that identity rather than trying to transcend it. Luca Guadagnino's remake (yes folks, it's a remake) is the polar opposite – it has an intricate plot covering all manner of themes and topics, featuring several new characters, and setting everything against a complex socio-political background; the acting and effects are excellent; it takes itself very, very seriously; and it continually tries to prove to the viewer that it is much more than a piece of kitsch horror. According to Guadagnino, his version of _Suspiria_ is a "_homage_" to the "_powerful emotions_" of the original (it's a remake), whilst actress Tilda Swinton calls it "_a cover version_" (it's a remake). The real question, however, is not how similar or dissimilar it is to Argento. The real question is whether the film is a beautifully mounted insightful exploration of female sexuality, a celebration of a self-contained matriarchy set against the destructive chaos of a failing patriarchy, and a psychoanalytical investigation of national trauma and World War II guilt, or is it an overlong, dull, self-important, incoherent mess, that in trying to be both feminist and feminine somehow ends up being both misogynist and misandrist? Working kind of like a hybrid of Nicholas Winding Refn's _The Neon Demon_ (2016) and Darren Aronofsky's _mother!_ (2017), the film is as far as you can get from Guadagnino's more recent work, specifically _A Bigger Splash_ (2015), and _Call Me By Your Name_ (2017); one can only imagine what people who expected more of the warm sun and delicate eroticism seen in those films must have felt after spending 152 minutes in an arid Berlin winter, witnessing bones pushing through skin, decapitations, night terrors, meat hooks being used in ways meat hooks were not intended to be used, Holocaust survivors, political terrorism, and witches trying to organise an election.

Set in "Divided Berlin" in October 1977, the film is divided into six acts ("1977", "Palaces of Tears", "Borrowing", "Taking", "In the Mütterhaus (All the Floors are Darkness)", and "Suspiriorum") and an epilogue ("A Sliced-Up Pear"). It begins with Patricia Hingle (Chloë Grace Moretz, who appears to be cornering the market in rubbish Hollywood remakes), a student at the prestigious Helena Markos Tanzgruppe [Helena Markos Dance Academy] arriving at the home of her psychoanalyst, the Carl Jung-in-all-but-name Dr. Josef Klemperer (Tilda Swinton, credited as Lutz Ebersdorf). Terrified and not making much sense, Hingle tells Klemperer she has discovered something sinister about the Academy and is now in fear for her life. Although Klemperer believes she is delusional, he is concerned for her well-being, but she flees, leaving behind her diary. Meanwhile, Susie Bannion (Dakota Johnson), a Mennonite from Ohio, arrives at the Academy hoping to audition. Impressed with her abilities, lead choreographer Madame Blanc (also Tilda Swinton, channelling Pina Bausch), admits her to the Academy. Becoming close with her roommate, Sara Simms (an excellent Mia Goth), Susie quickly finds herself dancing the lead in the Academy's upcoming piece, _Volk_. Meanwhile, in Hingle's diary, Klemperer reads that the academy is a front for a witches' coven, and learns of the "Three Mothers", a triumvirate of powerful witches who predate Christianity – Suspiriorum (Sighs), Tenebrarum (Darkness), and Lachrymarum (Tears). At the same time, he is trying to find out what happened to his wife, Anke (Jessica Harper, who played Susie in the original), who disappeared in 1944 after he tried to convince her it was safe to remain in Berlin. Meanwhile, the Academy's matrons hold an election to choose the coven's leader, with Blanc running against Helena Markos (also Tilda Swinton!), a vote which Markos narrowly wins. Unaware of any of this, as Susie becomes increasingly close to Blanc, Sara grows suspicious of the matrons and begins to investigate on Klemperer's behalf.

Guadagnino has been obsessed with Argento's original since he first saw it in 1984, and in 2007, he optioned the rights and hired David Gordon Green to write and direct a remake (there's that word again), something with which Argento himself was not especially pleased, believing the film didn't need to be remade. In 2013, Green revealed that legal issues had prevented the film from being made, and in 2014, he also cited the escalating budget. However, in 2015, Guadagnino announced that he himself was now directing a "_homage_" (it's a remake), from a script by David Kajganich (_The Invasion_; _True Story_) which focused on "_the uncompromising force of motherhood._" Guadagnino's _Suspiria_ is the kind of horror movie that goes for slow-burning psychological dread (there is literally not a single jump-scare), and from the time the project was announced, it has divided opinion, something which continued when it was released; it's that rarest of films whose Metacritic scores range from 0 (for example, Mike LaSalle's review for the _San Francisco Chronicle_) to 100 (for example, Joshua Rothkopf's review for _Time Out_).

As the plot outline should make clear, the film deals with a variety of weighty themes, one of which is the political turmoil of the era. Set in October 1977, the events of the _Deutscher Herbst_ [German Autumn] are constantly on the fringes of the narrative – the film opens with a street demo; radio reports speak of Ulrike Meinhof's death in police custody in May 1976, the imprisonment of Andreas Baader and Gudrun Ensslin, the activities of the far-left, anti-imperialistic terrorist group _Rote Armee Fraktion_ [Red Army Faction - RAF], the hijacking of _Lufthansa Flight 181_ by the Popular Front for the Liberation of Palestine, and the kidnapping of Hanns Martin Schleyer; the story the academy put out to explain Hingle's departure is that she has joined the RAF; a bomb explodes off-camera.

And it is in relation to politics where we encounter the first, and most certainly not the last, of the film's problems. Arguing that Germany's failure to process their Nazi past and confront their national shame is manifesting as political disenfranchisement, Guadagnino employs a pseudo-Jungian approach to show that the country's political turmoil runs parallel to the struggle for control of the coven. Emphasising that the world of witches was once harmonious under the rule of the Three Mothers, just like Germany, it has now devolved into factionalism, complete with backroom political manoeuvring, subterfuge within the ranks, and animosity bordering on aggression. Within this dynamic, the matrons are the privileged ruling elite, and the students are the uneducated and disenfranchised "_volk_".

But to what end does Guadagnino make this parallel? What is he trying to say? Rarely have I encountered a narrative which employs such blatant yet inconclusive and vague political contextualisation. Take the Berlin Wall as an example, which is literally right outside the Academy's door. Why is it there? Why are there so many shots of it? What purpose does it serve in the narrative? The answer is, none. It's purely ornamental, with Guadagnino seemingly hoping for meaning by association – people see the Wall, and immediately begin to attribute to it all manner of allegorical significance, when in fact the film itself suggests nothing of the kind. And none of the other political symbols amount to much more; they certainly don't inform any grand thematic statement or political thesis. Guadagnino bombards the viewer with empty historical and political themes which do nothing for the central storyline, functioning instead as decoration, utterly trivialising and completely disconnected.

Also important in relation to the film's politics is _Vergangenheitsbewältigung_ ["Overcoming the past"] – essentially, post-1945 Germany's attempt to come to terms with World War II and the Holocaust. This is primarily seen in Klemperer's search for his wife, which throws up another problem. Klemperer, who is not in Argento's original, is a surrogate for the audience. Nothing wrong with that, it's a standard screenwriting technique used to facilitate more organic exposition. However, Klemperer is an extremely distracting and painfully on-the-nose device to afford Guadagnino a vehicle for a political subplot, which is completely superfluous to what is happening in the coven. Every single reference to Anke could be removed from the film, leaving Klemperer as simply an amateur detective trying to find out what happened to Hingle, and the film would work just as well. In fact, it would work better. As his search for his wife becomes more prominent, and he becomes more central, all that is achieved is the waning of the central plot. In a story ostensibly about the Feminine, it's rather troubling that the emotional core of the film is male. The film's preferred point of view is his, with even the epilogue focusing on him. Klemperer is quite literally a man in a woman's world, but exactly why Guadagnino felt the need to shoehorn a man into a story about women is anybody's guess.

Which brings us to another theme; femininity (if not necessarily feminism). That the film is deeply interested in this is shown in a number of ways. For example, Susie is told by head matron Tanner (Angela Winkler) that the academy ensures the "_financial autonomy of our girls_"; speaking of Nazi Germany, Blanc says the regime wanted women to "_close their minds and keep their uteruses open_"; Susie is reminded that "_before the war, Germany had the strongest women_". Additionally, Klemperer is played by Swinton, meaning the film effectively has an all-female cast (the only other men with any lines are Glockner and Albrecht (played by Mikael Olsson and Fred Kelemen, respectively), two completely useless policemen whose main scene involves the witches hypnotising them and mocking the size of their genitalia). However, the film isn't interested in idealising female empowerment. Instead, it depicts a matriarchy beset by disruption and the chaos of a struggle for power. As Guadagnino tells Jezebel,

> _if we talk about the Great Mother, we cannot deny the terrible mother. True feminism is something that doesn't shy away from the complexity of the female identity._

But does the film imply that a powerful group of women is something to be inherently feared? Partly. Indeed, the very theme of witchcraft itself (perhaps the purest historical manifestation of the patriarchy's fear of female agency) carries an undercurrent of misogyny, which is not helped by the nudity and repeated violent objectification of the female body. There's a very thin line between condemning the male gaze, which is what Guadagnino claims to be doing, and recreating it, and it's a line which _Suspiria_ frequently crosses (for an excellent example of a film which recreates the male gaze for the purpose of satirising and ridiculing it, see Coralie Fargeat's superb _Revenge_). Maybe the problem here is simply that a story inherently about matriarchy, female empowerment, and the importance of motherhood, is a story a man can't tell very well. I'm reminded of Sofia Coppola's remake of _The Beguiled_ (2017), of which she argued,

> _this story had to be directed by a woman. The essence of it is feminine, it's seen from a female point of view._

_Suspiria_ also has a feminine essence, but it doesn't have a female point of view, and one can't help but wonder what a talented female director like Coppola, Mary Harron, Patty Jenkins, or the genius that is Lynne Ramsay would have made of this material.

However, even aside from these problems, there are a plethora of other issues. The character of Blanc, for example, is poorly written, and is stripped of agency towards the end of the film, so by the time of the _dénouement_, she anti-climatically does little in the direction of either outright evil or redemptive good; instead, she just kind of hangs around. As for the matrons, apart from Tanner, none receive an iota of characterisation; they are simply a jumble of non-individualised background extras. The same is true of the dancers. Indeed, there's an absolute dearth of subjectivity or interiority for anyone beyond Susie, Blanc, Klemperer, and, to a lesser extent, Sara and Tanner. There's a cliché-riddled scene showing Blanc telepathically channelling nightmares to Susie, full of images of skulls, worms, rotting flesh, etc. Nothing we haven't seen a hundred times before. Finally, the film is immensely silly in places. For example, the much-talked-about climax is presided over by what can only be described as a female Jabba the Hut wearing sunglasses. Another example is after Susie first dances at the academy, she confides to Blanc, "_it felt like what I think it must feel like to fuck._" "_Do you mean fuck a man?_" asks Blanc. "_No_," replies Susie, "_I was thinking of an animal._" Of course you were.

From an aesthetic point of view, however, there's a great deal to admire, as one would expect from Guadagnino, who is working with much of the same crew as from his last couple of films. Walter Fasano's editing is wonderfully disjointed, often cutting maniacally between inserts, barely affording the viewer time to register the images. The compositions and camera placement of cinematographer Sayombhu Mukdeeprom (_Uncle Boonmee Who Can Recall His Past Lives_) are also fascinating, often putting the camera in such a position as to purposely give a less than perfect view of a particular space. Combined, these two techniques are disorientating and frequently defamiliarising, rendering mundane geographical spaces such as offices, dorm rooms, and rehearsal studios as foreboding and unknowable, almost protean, never allowing the viewer to forget that something is not quite right in this _milieu_. Contributing to this sense is the blocking, particularly the recurring motif of staging conversations so that one character is off-screen, only visible to the audience via reflection. Especially noticeable is the film's colour, or lack thereof. Whereas Argento's original was awash in garish and exaggerated reds, purples, blues, greens, and yellows, Guadagnino's remake was conceived as "_winterish_", with as limited a use of primary colours as possible; grey, beige, and brown predominate. Giulia Piersanti's costumes are also superb, with Susie's wardrobe noticeably changing from conservative dresses and sweatpants to more revealing tank tops and shorts as she gains in confidence. Thom Yorke's Krautrock-style score is also excellent, as different from Goblin's prog-rock music from the original as you could possibly imagine.

The cumulative tension and dread are also reasonably well managed in the first half of the film, and there are individual scenes of great brilliance. At one point, Sara goes snooping around the Academy, finding something genuinely shocking, the reveal of which is masterfully staged by Guadagnino and Mukdeeprom. Easily the best scene in the film is the one that so traumatised audiences at CinemaCon 2018. As Susie performs an especially energetic dance for Blanc in one room, unbeknownst to her, she is psychically linked to a dancer in another, and every movement of her body is manifested violently in the other room, with the other dancer being flung about like a rag doll. The scene is horrifically gruesome, with bones piercing through flesh, blood and urine flowing copiously, and limbs contorting into truly disturbing positions. What really sells the scene, however, is the combination of Fasano's brilliant intercutting (maintaining continuity of movement from room to room cannot have been easy), Damien Jalet's superb choreography, and the disturbing sound design by Frank Kruse and Markus Stemler (_Cloud Atlas_; _In the Heart of the Sea_; _Assassin's Creed_) contrasting the sharp snapping of breaking bones with the wetter sounds of those bones penetrating flesh.

Self-indulgent like little else I can think of, _Suspiria_ is absolutely convinced of its own profundity. Far, far too long and far too self-serious, its themes and messages are poorly iterated, it's insanely dull for long periods, and it's badly unfocused. It's almost an hour longer than the original, and, honestly, it uses that hour to say precisely nothing of interest. The simple fact is that the slight story at the film's core (a coven of witches using a dance academy as a front) is unable to bear the massive weight of themes and narrative diversions heaped upon it; the vehicle just can't carry the message. Its politics are no more insightful than tabloid headlines, and serve only to detract from what is supposed to be the narrative's focus. Ultimately, it has little to say about femininity, feminism, political protest, the Holocaust, Cold War Germany, or World War II guilt, but it damn sure works hard to convince us it has a great deal to say about such topics. As cold as the Berlin winter it depicts, _Suspiria_ is equal parts emotionless, mechanical, and dull.
I have never seen original Suspiria, but saw this remake and all I can say - it had very unique atmosphere. It was different from a mainstream horror movies. It's not for everyone. If you're fan of SAW with lots of gore or even Conjuring series with lots of makeup and effects, you might not like this movie. Here most important part plays music, dance, places & characters involved in witchcraft that together creates creepy atmosphere. Movie is quite long and if you watch it at night and especially alone, it will give you effect of a nightmare dream. It's one of those weird movies that only few people understand and love.

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[HD] Suspiria 2018 Fullhd Film Izle

Kısa film

Harcandı : $876,142,298

Gelir : $249,894,971

Kategoriler : Egal - Widerstand paradox , Film Animation - Aufnahme , Liebe - Wild Mountain Epidemic , Schrecken - Von Verschwörung Regen Émouvant De Vampire

Üretici Ülke : Kroatien

Prodüksiyon : WSA International

A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe's artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare, others will finally wake up.
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