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&ref(https://m.media-amazon.com/images/M/MV5BOTdmNTFjNDEtNzg0My00ZjkxLTg1ZDAtZTdkMDc2ZmFiNWQ1XkEyXkFqcGdeQXVyNTAzNzgwNTg@._V1_UX182_CR0,0,182,268_AL_.jpg) Tomatometer 8,8 of 10 Genre Drama release Date 2019 167282 Votes George MacKay, Daniel Mays. Mendes’s first world war drama, filmed to appear as one continuous take, plunges the viewer into the trenches alongside two young British soldiers to breathless effect 4 / 5 stars 4 out of 5 stars. ‘Endlessly watchable’: George MacKay, centre, as Lt Corp Schofield in Sam Mendes’s epic 1917. Photograph: François Duhamel/AP F or the opening of his 2015 Bond movie Spectre, director Sam Mendes (who won an Oscar for his first feature, American Beauty) mounted a memorable sequence set amid Mexico City’s day of the dead festival. In what appears to be a single continuous shot, the camera tracks a masked figure through crowded streets, into a hotel lobby, up an elevator, out of a window, and over the rooftops to a deadly assignation. It’s an audacious, attention-grabbing curtain-raiser widely hailed as the film’s strongest asset. For his latest movie ? an awards-garlanded first world war drama that has already won best picture honours at the Golden Globes ? Mendes has returned to the lure of the “one-shot” format, this time stretching it out to feature length. Like Hitchcock’s Rope or Alejandro González Iñárritu’s Birdman, 1917 uses several takes and set-ups, seamlessly conjoined to give the appearance of a continuous cinematic POV, albeit with periodic ellipses. The result is a populist, immersive drama that leads the viewer through the trenches and battlefields of northern France, as two young British soldiers attempt to make their way through enemy lines on 6 April 1917. George MacKay and Dean-Charles Chapman are perfectly cast as Schofield and Blake, the lance corporals enlisted to venture into enemy territory with a message for fellow troops poised to launch a potentially catastrophic assault. The Germans have made a “strategic withdrawal”, suggesting that they are on the run. In fact they’re lying in wait, armed and ready to repel the planned British push. Together, these young soldiers must reach their comrades and halt the attack ? a race against time and insurmountable odds. With meticulous attention to detail (plaudits to production designer Dennis Gassner) and astonishingly fluid cinematography by Roger Deakins that shifts from ground level to God’s-eye view, Mendes puts his audience right there in the middle of the unfolding chaos. There’s a real sense of epic scale as the action moves breathlessly from one hellish environment to the next, effectively capturing our reluctant heroes’ sense of anxiety and discovery as they stumble into each new unchartered terrain. This is nail-biting stuff, interspersed with genuine shocks and surprises. Whether it’s a tripwire moment that provokes an audible gasp, a distant dogfight segueing into up-close-and-personal horror, or a single gunshot that made me jump out of my seat during an otherwise near-silent sequence, there’s no doubting the film’s theatrical impact. Watch a trailer for 1917 Yet for all the steel-trap visceral efficiency, it’s the more low-key moments that really pack a punch ? those moments when we’re confronted with the simple human cost of war. As with Peter Jackson’s monumentally moving documentary They Shall Not Grow Old, 1917 works best when showing us the boyish face of this conflict; the pitiable plight of a young generation, old or lost before their time. It’s a quality perfectly captured by MacKay’s endlessly watchable eyes, which manage simultaneously to project ravaged innocence and world-weary exhaustion ? fatalism and hope. “Hope is a dangerous thing, ” says Benedict Cumberbatch’s Colonel MacKenzie, just one of a number of small roles filled by high-profile actors happy to play second fiddle. It’s a line that mirrors the central refrain from The Shawshank Redemption, another humanist movie tinged with horror that seems to haunt Mendes and Krysty Wilson-Cairns’ script. There are evocations, too, of Spielberg’s Saving Private Ryan, not only in the unflinching depiction of battlefield violence, but also in a plot device that sets soldiers searching for a brother in a desperate quest for redemption. In one of its more surreal (or perhaps transcendent) sequences, wherein a purgatorial night-time underworld is illuminated in a yellow phosphorescent haze, I was unexpectedly reminded of a dream scene from Waltz With Bashir, in which young men rise from the water, like ghosts walking among the living. Throughout this Homeric odyssey, Thomas Newman’s pulsing score ratchets up the tension, travelling “up the down trench”, through the body-strewn carnage of no man’s land (a forest of wood and wire, bone and blood) and into the eerie environs of deserted farmhouses and bombed-out churches. Occasionally, we hear echoes of the rising crescendo of Hans Zimmer’s Dunkirk score; elsewhere, Newman’s cues are full of piercing melancholia mingled with distant threat. In a film in which music plays such a crucial role, it’s significant that perhaps the most powerful scene is an interlude of song. Emerging from a river after a baptismal episode of death and rebirth, we find ourselves in a wood where a young man sings The Wayfaring Stranger. It’s an interlude that brings the characters and audiences together in silence, communally experiencing that still-small voice of calm that lies at the heart of so many great war movies.

They truly achieved everything they were after. Haven't cried in a cinema as much as I did watching 1917. May be the most moving film I've ever seen. This is a Perfect Movie. Shot in real time in what seems to be one long continuous take, perfectly orchestrated action, consummately choreographed and shot. It's got Everything; sets, costumes, acting, score, cinematography, story (not necessarily in that order. And it'll set a standard for years to come.

Btw, I get the comparison to Saving Private Ryan, which has perhaps the best invasion scene ever. But on the whole and in many ways 1917 surpasses SPR. It's a Monumental Masterpiece; practically incomparable.

ΧίÎ?Î?Î Î?Î?Î?Î?ÎκÏ?Ï?Î?Î Î?Î?κÎÎ?Ï?ici pour voir la video. 1:10 using last stand perk. Amazing movie. I recommend it.

ΧίÎ?Î?Î Î?Î?Î?Î?ÎκÏ?Ï?Î?Î Î?Î?κÎÎ?Ï?ici pour accéder. Looking at him and instantly thinking ' your a wizard harry.

ΧίÎ?Î?Î Î?Î?Î?Î?ÎκÏ?Ï?Î?Î Î?Î?κÎÎ?Ï?ici pour visiter le site. 42 customer reviews There was a problem filtering reviews right now. Please try again later. January 4, 2020 Format: Prime Video Stunning technique and talent in perfect form. Written and directed by Sam Mendes, this riveting movie has immense meaning because it was actually inspired by Sam Mendes’ own grandfather’s experiences in WWI and based on his book Autobiography Of Alfred H. Mendes, 1897-1991 (The UWI Press Biography Series) and the movie was made in his memory. TIPS FOR PARENTS: Some profanity and F-bombs. You see dead horses and bodies (all prosthetic, of course), complete with circling flies, rats, and black crows. You see a man’s life blood drain from his face. Spoken French with subtitles You see a man kill another man with his hands like in that devastating scene in Saving Private Ryan. That scene has haunted me for years. THINGS I LIKED: Fantastic cinematography by 14 times Academy Award nominee Roger Deakins. Surely the work he does in this movie will win him an Oscar. I loved the long sequences in the beginning of 1917 when they walked through the trenches. The entire film is shot and edited to make it look like one long, single shot that takes place in real time. Wow. Seriously, the camera work is next level. For example, the camera keeps running from the ground level, water level, and over the shoulder in incredibly realistic shots that make you feel like you’re standing right next to the characters in the middle of all the action. The cast is very good and includes excellent performances by George MacKay, Dean-Charles Chapman, Mark Strong, Colin Firth, Benedict Cumberbatch, Andrew Scott, and Richard Madden. Some salty humor provided by Andrew Scott’s character. It’s the only time the audience I sat with laughed. The music provides a feeling of non-stop tension yet doesn’t become monotonous. How they prepared the fields and landscapes to really look like war-torn Europe was truly amazing. I loved how Blake hurt his hand on barbed wire at the very beginning of his journey so that he had to continue babying it amidst his struggles. For a truly visceral experience, watch this movie on the biggest screen you can. I loved the way the movie began and ended. Perfect. It doesn’t feel like a Hollywood movie where everyone has endless ammunition. It feels real. You can read the rest of my movie review at or watch my review on the Movie Review Mom YouTube channel! January 8, 2020 Format: DVD 1971 was a fabulous year: Jiffy Peanut Butter was 59 cents a can, you could take home an Etch-A-Sketch for $2. 83, a Datsun 1200 Sports Coupe was yours for $1, 866, a gallon of gas was 40 cents, and the average rent was 150 bucks. But this crazy movie mentions none of it -- not even the opening of Disney World or those fab Velour pant suits, Carole King’s Tapestry or the coming of David Bowie. I don't get it. January 10, 2020 Format: DVD As "1917" (2019 release; 119 min. ) opens, we are told it is "April 6, 1917", and Lance Corporals Schofield and Blake from the British army are summoned by the General: the two soldiers must deliver an urgent message to 2 battalions who are about to fall into a massive German trap. Blake's brother is among the 1600 soldiers in peril. Off they go, Schofield and Blake. At this point we are less than 10 min. into the movie but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out. Couple of comments: this is the latest movie from British director-writer-producer Sam Mendes, who brought us the 2 most recent James Bond films, and American Beauty way before that. Here he brings a WWI story to the big screen as it was relayed to him by his grandfather, who served in WWI. I don't want to spoil anything by revealing more of the plot. Instead let me make the following general observations: as the movie opens, we watch as Schofield and Blake walk to the General's camp, get his orders, and get underway, and after a couple of minutes, I realized that all if this was being shown in one continuous take. Then it became 5 min., then 10, then 15 min., and I thought to myself, how much longer can this be just one continuous take? (Sorry, I'm going to to tell you. ) The movie is just epic on so many levels. There are some stretches where there is little to no dialogue and it is then how critically important the movie's sound design is. You may recall that in 2018 there was a fabulous documentary called "They Shall Not Grow Old" (directed by Peter Jackson), in which WWI archive footage is restored gloriously. And in 2017 there was Christopher Nolan's epic WWII drama "Dunkirk". To me "1917" recalls both those films in the best possible way. Kudos also to Thomas Newman for the massive original score, which plays almost non-stop during the movie. "1917" went wide this weekend, and i couldn't wait to see it. The Friday evening screening where I saw this at here in Cincinnati in a mid-size theater was pretty much sold out, I am very happy to say. Winning Best Picture and Best Director at last weekend's Golden Globes will only reinforce the strong word-of-mouth this movie surely will generate. I am going on record that this movie will get multiple Oscar nominations (and then win them). If you like an epic war movie, you are in for a treat, and I would readily suggest you check this out, be it in the theater, on Amazon Instant Video, or eventually on DVD/Blu-ray, and draw your own conclusion. *UPDATE 1/13/20* As predicted, "1917" won multiple Oscar nominations today, and I am going on record that it will win Best Movie and Best Director Oscars (as it did at the Golden Globes) January 6, 2020 Format: Prime Video Two corporals set out across no man's land in WWI to deliver a message to a company to not attack, that it is a trap. One of the corporals has a brother in the group. This is a long drawn out story of two guys trying to make their way through France. I was not as excited about the two man war play as much as the Golden Globes. Oh, BTW war is "last man standing" so there is your theme that wasn't worth two hours of gun fire. Guide: F-word. No sex or nudity.
At first, I thought the thumbnail was Brienne of Tarth. Leurs états de santé. Benedict Cumberbatch looks like hes from this time period. ΧίÎ?Î?Î Î?Î?Î?Î?ÎκÏ?Ï?Î?Î Î?Î?κÎÎ?Ï?ici pour voir. Sam Mendes directs this visually extravagant drama about young British soldiers on a perilous mission in World War I. Credit... Francois Duhamel/Universal Pictures Published Dec. 24, 2019 Updated Dec. 27, 2019 On June 28, 1914, a young Serbian nationalist assassinated the presumptive heir to the Austro-Hungarian throne, thus starting World War I. That, at any rate, is the familiar way that the origins for this war have been shaped into a story, even if historians agree the genesis of the conflict is far more complicated. None of those complications and next to no history, though, have made it into “1917, ” a carefully organized and sanitized war picture from Sam Mendes that turns one of the most catastrophic episodes in modern times into an exercise in preening showmanship. The story is simple. It opens on April 6, 1917, with Lance Corporal Blake (Dean-Charles Chapman) and Lance Corporal Schofield (George MacKay), British soldiers stationed in France, receiving new orders. They are to deliver a message to troops at the front line who are readying an assault on the Germans, who have retreated. (Coincidentally or not, April 6 is the date that the United States formally entered the war. ) The British command, however, believes that the German withdrawal is a trap, an operational Trojan horse. The two messengers need to carry the dispatch ordering the waiting British troops to stand down, thereby saving countless lives. It’s the usual action-movie setup ? a mission, extraordinary odds, ready-made heroes ? but with trenches, barbed wire and a largely faceless threat. Blake jumps on the assignment because his brother is among the troops preparing the assault. Schofield takes orders more reluctantly, having already survived the Battle of the Somme, with its million-plus casualties. The modest difference in attitude between the messengers will vanish, presumably because any real criticism ? including any skepticism about this or any war ? might impede the movie’s embrace of heroic individualism for the greater good, which here largely translates as vague national struggle and sacrifice. What complicates the movie is that it has been created to look like it was made with a single continuous shot. In service of this illusion, the editing has been obscured, though there are instances ? an abrupt transition to black, an eruption of thick dust ? where the seams almost show. Throughout, the camera remains fluid, its point of view unfixed. At times, it shows you what Blake and Schofield see, though it sometimes moves like another character. Like a silent yet aggressively restless unit member, it rushes before or alongside or behind the messengers as they snake through the mazy trenches and cross into No Man’s Land, the nightmarish expanse between the fronts. The idea behind the camerawork seems to be to bring viewers close to the action, so you can share what Blake and Schofield endure each step of the way. Mostly, though, the illusion of seamlessness draws attention away from the messengers, who are only lightly sketched in, and toward Roger Deakins’s cinematography and, by extension, Mendes’s filmmaking. Whether the camera is figuratively breathing down Blake’s and Schofield’s necks or pulling back to show them creeping inside a water-filled crater as big as a swimming pool, you are always keenly aware of the technical hurdles involved in getting the characters from here to there, from this trench to that crater. In another movie, such demonstrative self-reflexivity might have been deployed to productive effect; here, it registers as grandstanding. It’s too bad and it’s frustrating, because the two leads make appealing company: The round-faced Chapman brings loose, affable charm to his role, while MacKay, a talented actor who’s all sharp angles, primarily delivers reactive intensity. This lack of nuance can be blamed on Mendes, who throughout seems far more interested in the movie’s machinery than in the human costs of war or the attendant subjects ? sacrifice, patriotism and so on ? that puff into view like little wisps of engine steam. The absence of history ensures that “1917” remains a palatable war simulation, the kind in which every button on every uniform has been diligently recreated, and no wound, no blown-off limb, is ghastly enough to truly horrify the audience. Here, everything looks authentic but manicured, ordered, sane, sterile. Save for a quick appearance by Andrew Scott, as an officer whose overly bright eyes and jaundiced affect suggest he’s been too long in the trenches, nothing gestures at madness. Worse, the longer this amazing race continues, the more it resembles an obstacle course by way of an Indiana Jones-style adventure, complete with a showstopping plane crash and battlefield sprint. Mendes, who wrote the script with Krysty Wilson-Cairns, has included a note of dedication to his grandfather, Alfred H. Mendes, who served in World War I. It’s the most personal moment in a movie that, beyond its technical virtues, is intriguing only because of Britain’s current moment. Certainly, the country’s acrimonious withdrawal from the European Union makes a notable contrast with the onscreen camaraderie. And while the budget probably explains why most of the superior officers who pop in briefly are played by name actors ? Colin Firth, Mark Strong, Benedict Cumberbatch ? their casting also adds distinctly royal filigree to the ostensibly democratic mix. 1917 Rated R for war violence. Running time: 1 hour 58 minutes.
| Dec. 20, 2019, 8 a. m. The new World War I drama from director Sam Mendes, 1917, unfolds in real-time, tracking a pair of British soldiers as they cross the Western Front on a desperate rescue mission. Seemingly filmed in one continuous take, the 117-minute epic has garnered accolades for its cinematography and innovative approach to a potentially formulaic genre. Although the movie’s plot is evocative of Saving Private Ryan ?both follow soldiers sent on “long journeys through perilous, death-strewn landscapes, ” writes Todd McCarthy for the Hollywood Reporter ?its tone is closer to Dunkirk, which also relied on a non-linear narrative structure to build a sense of urgency. “[The film] bears witness to the staggering destruction wrought by the war, and yet it is a fundamentally human story about two young and inexperienced soldiers racing against the clock, ” Mendes tells Vanity Fair ’s Anthony Breznican. “So it adheres more to the form of a thriller than a conventional war movie. ” Plot-wise, 1917 follows two fictional British lance corporals tasked with stopping a battalion of some 1, 600 men from walking into a German ambush. One of the men, Blake (Dean Charles Chapman, best known for playing Tommen Baratheon in “Game of Thrones”), has a personal stake in the mission: His older brother, a lieutenant portrayed by fellow “Game of Thrones” alumnus Richard Madden, is among the soldiers slated to fall victim to the German trap. “If you fail, ” a general warns in the movie’s trailer, “it will be a massacre. ” While Blake and his brother-in-arms Schofield (George McKay) are imaginary, Mendes grounded his war story in truth. From the stark realities of trench warfare to the conflict’s effect on civilians and the state of the war in spring 1917, here’s what you need to know to separate fact from fiction ahead of the movie’s opening on Christmas Day. Blake and Schofield must make their way across the razed French countryside. (Universal Studios/Amblin) Is 1917 based on a true story? In short: Yes, but with extensive dramatic license, particularly in terms of the characters and the specific mission at the heart of the film. As Mendes explained earlier this year, he drew inspiration from a tale shared by his paternal grandfather, author and World War I veteran Alfred Mendes. In an interview with Variety, Mendes said he had a faint memory from childhood of his grandfather telling a story about “a messenger who has a message to carry. ” Blake and Schofield (seen here, as portrayed by George McKay) must warn a British regiment of an impending German ambush. The director added, “And that’s all I can say. It lodged with me as a child, this story or this fragment, and obviously I’ve enlarged it and changed it significantly. ” What events does 1917 dramatize? Set in northern France around spring 1917, the film takes place during what Doran Cart, senior curator at the National WWI Museum and Memorial, describes as a “very fluid” period of the war. Although the Allied and Central Powers were, ironically, stuck in a stalemate on the Western Front, engaging in brutal trench warfare without making substantive gains, the conflict was on the brink of changing course. In Eastern Europe, meanwhile, rumblings of revolution set the stage for Russia’s impending withdrawal from the conflict. Back in Germany, Kaiser Wilhelm II resumed unrestricted submarine warfare ?a decision that spurred the United States to join the fight in April 1917 ?and engaged in acts of total war, including bombing raids against civilian targets. Along the Western Front, between February and April 1917, the Germans consolidated their forces by pulling their forces back to the Hindenburg Line, a “ newly built and massively fortified ” defensive network, according to Mendes. In spring 1917, the Germans withdrew to the heavily fortified Hindenburg Line. (Illustration by Meilan Solly) Germany’s withdrawal was a strategic decision, not an explicit retreat, says Cart. Instead, he adds, “They were consolidating their forces in preparation for potential further offensive operations”?most prominently, Operation Michael, a spring 1918 campaign that found the Germans breaking through British lines and advancing “farther to the west than they had been almost since 1914. ” (The Allies, meanwhile, only broke through the Hindenburg Line on September 29, 1918. ) Mendes focuses his film around the ensuing confusion of what seemed to the British to be a German retreat. Operating under the mistaken assumption that the enemy is fleeing and therefore at a disadvantage, the fictional Colonel MacKenzie (Benedict Cumberbatch) prepares to lead his regiment in pursuit of the scattered German forces. “There was a period of terrified uncertainty?had [the Germans] surrendered, withdrawn, or were they lying in wait?, ” the director said to Vanity Fair. The movie's main characters are all fictional. In truth, according to Cart, the Germans “never said they were retreating. ” Rather, “They were simply moving to a better defensive position, ” shortening the front by 25 miles and freeing 13 divisions for reassignment. Much of the preparation for the withdrawal took place under cover of darkness, preventing the Allies from fully grasping their enemy’s plan and allowing the Germans to move their troops largely unhindered. British and French forces surprised by the shift found themselves facing a desolate landscape of destruction dotted with booby traps and snipers; amid great uncertainty, they moved forward cautiously. In the movie, aerial reconnaissance provides 1917’s commanding officer, the similarly fictional General Erinmore (Colin Firth), with enough information to send Blake and Schofield to stop MacKenzie’s regiment from walking into immense danger. (Telegraph cables and telephones were used to communicate during World War I, but heavy artillery bombardment meant lines were often down, as is the case in the movie. ) British soldiers attacking the Hindenburg Line (Photo by the Print Collector/Getty Images) To reach the at-risk battalion, the young soldiers must cross No Man’s Land and navigate the enemy’s ostensibly abandoned trenches. Surrounded by devastation, the two face obstacles left by the retreating German forces, who razed everything in their path during the exodus to the newly constructed line. Dubbed Operation Alberich, this policy of systematic obliteration found the Germans destroying “anything the Allies might find useful, from electric cables and water pipe[s] to roads, bridges and entire villages, ” according to the International Encyclopedia of the First World War. Per the Times, the Germans evacuated as many as 125, 000 civilians, sending those able to work to occupied France and Belgium but leaving the elderly, women and children behind to fend for themselves with limited rations. (Schofield encounters one of these abandoned individuals, a young woman caring for an orphaned child, and shares a tender, humanizing moment with her. ) “On the one hand it was desirable not to make a present to the enemy of too much fresh strength in the form of recruits and laborers, ” German General Erich Ludendorff later wrote, “and on the other we wanted to foist on him as many mouths to feed as possible. ” Aftermath of the Battle of Poelcapelle, a skirmish in the larger Third Battle of Ypres, or Battle of Passchendaele (National WWI Museum and Memorial) The events of 1917 take place prior to the Battle of Poelcappelle, a smaller skirmish in the larger Battle of Passchendaele, or the Third Battle of Ypres, but were heavily inspired by the campaign, which counted Alfred Mendes among its combatants. This major Allied offensive took place between July and November 1917 and ended with some 500, 000 soldiers wounded, killed or missing in action. Although the Allies eventually managed to capture the village that gave the battle its name, the clash failed to produce a substantial breakthrough or change in momentum on the Western Front. Passchendaele, according to Cart, was a typical example of the “give-and-take and not a whole lot gained” mode of combat undertaken during the infamous war of attrition. Who was Alfred Mendes? Born to Portuguese immigrants living on the Caribbean island of Trinidad in 1897, Alfred Mendes enlisted in the British Army at age 19. He spent two years fighting on the Western Front with the 1st Battalion Rifle Brigade but was sent home after inhaling poisonous gas in May 1918. Later in life, Alfred won recognition as a novelist and short story writer; his autobiography, written in the 1970s, was published posthumously in 2002. The “story of a messenger” recalled by the younger Mendes echoes the account of the Battle of Poelcappelle told in his grandfather’s autobiography. On the morning of October 12, 1917, Alfred’s company commander received a message from battalion headquarters. “Should the enemy counter-attack, go forward to meet him with fixed bayonets, ” the dispatch read. “Report on four companies urgently needed. ” Despite the fact that he had little relevant experience aside from a single signaling course, Alfred volunteered to track down A, B and D Companies, all of which had lost contact with his own C Company. Aware of the high likelihood that he would never return, Alfred ventured out into the expanse of No Man’s Land. Alfred Mendes received a military commendation for his actions at the Battle of Poelcappelle. (Public domain/fair use) “The snipers got wind of me and their individual bullets were soon seeking me out, ” wrote Alfred, “until I came to the comforting conclusion that they were so nonplussed at seeing a lone man wandering in circles about No Man’s Land, as must at times have been the case, that they decided, out of perhaps a secret admiration for my nonchalance, to dispatch their bullets safely out of my way. ” Or, he theorized, they may have “thought me plain crazy. ” Alfred man
Amazing to see what's necessary to do do this shot, the hole scenery with dosents of people in action. Just wow. 1917 Full version Streaming movie HD ??????????????????????? Play? Leurs états de santé les empeche. Saw this on IMAX yesterday and was blown away. I don't think I've seen a film like it. Worth a watch and see it on IMAX if you have the chance. É O FILME QUE QUERO VER MUITO! O MAIOR VENCEDOR DO GOLDEN GLOBE.
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This movie is hands down one of the best war movies I have ever seen.

The cinematography is so extremely well made, and the acting of the protagonists are spot on. Deserves an Oscar. Very memorable piece of art. When Jocko does a push-up, he pushes the earth.

The scene where Schofield cried after crawling (over the dead bodies) out of the river is the scene that stuck with me. Hes human. Not some stoic Bond or Jason Bourne or some glib quipping ‘superhero. I felt his emotional and physical exhaustion. This game is not playable via SSL. If you are not automatically redirected please click here. ΧίÎ?Î?Î Î?Î?Î?Î?ÎκÏ?Ï?Î?Î Î?Î?κÎÎ?Ï?ici pour visiter.

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Author: Kol Goreng
Biography: Ambivert

Rated 4.0/5 based on 239 customer reviews