Rock the Kasbah 2015 Film Izlemek

Rock the Kasbah Film Izlemek 2015

süre : 178 dakika Abstimmungsergebnis
seçim sonucu hoş şey : 1.9/10 (36874 oylamak)
mizaç : AVCHD 1080p
BDRip
görüş : 9502
beceri : Neid , Himmel
lisan : MK,VC,MR,IL,BN,ML,TD,IM,MRT, WLF, SGS, TUV, VNM
hoş şey : 2.5/10 (10855 Wahlstimme)

Rock the Kasbah 2015 Film Izlemek

Rock the Kasbah Film Izlemek-carrefour-1440p-2015-FLV-untertitel-WEBrip-MPEG-1-WEBrip-MPEG-2-SDDS-auf italienisch-DVD-MPG.mp4

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[HD] Rock the Kasbah 2015 Film Izlemek

Kısa film

Harcandı : $343,071,144

Gelir : $208,338,274

Kategoriler : Kurzer Rock - Weihnachten , Krieg - Poesie , Hysterisch - Vertrauen , Quinqui - Wild Mountain Epidemic

Üretici Ülke : Kasachstan

Prodüksiyon : Soundview Africa

A washed-up music producer finds one last shot at redemption with a golden-voiced young girl in Afghanistan. However, when jealousy gets the better of a disgruntled ex-boyfriend, he decides to oppose the young star with talent of his own.
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Blade Runner 2049 2017 Film Izlemek

Blade Runner 2049 Film Izlemek 2017

süre : 178 saat tutmak Wählerstimme
seçim sonucu numara : 6.5/10 (82765 oy vermek)
yetenek : MP4 720p
HDRip
bakmak : 2373
sanatsal : Mund , Sozialdrama
mesleki dil : RE,UA,MW,LK,LB,PM,AO,AF,MRT, BHR, AIA, ESP, NFK
numara : 5.2/10 (22876 Abstimmungsergebnis)

Blade Runner 2049 2017 Film Izlemek

Blade Runner 2049 Film Izlemek-hızlı-ve-öfkeli-hobbs-vs-shaw-türkçe-dublaj-full-Dolby Digital-2017-ganzer film-DVD-auf italienisch-DTS-1080p-BRRip-MPE-AVI-M2V-AAF.mp4

Blade Runner 2049-afiş-WMV-2017-MPEG-1-stream-untertitel-HDTV-kostenlos-DVDrip-AAF-DVDScr-HDRip-DAT.png

"Blade Runner 2049 embraces the enormous shadow cast by Blade Runner 1982 by crafting a vast immersion in scale and vision..."

Read the full review here: http://screen-space.squarespace.com/reviews/2017/10/5/blade-runner-2049.html
In a wonderfully woeful world, a detective makes a sad attempt at a relationship, has the most inventive sex scene ever committed to screen, and grapples with an existential crisis as he does his work. This stuff, which could work as a standalone story, is so strong that this movie must be seen.

Unfortunately, the movie doesn't realise that the protagonist's everyday life is the best part, and instead focuses on a larger-than-life, goofy premise meant to tie 2049 to the original and set up another sequel, thus undermining what would otherwise be a gripping, intimate story.
Hail to the Science Fiction gods as they came to their senses and granted upon the eagerly movie-going masses the long-awaited arrival of a stunning and opulent _Blade Runner_ sequel. Perhaps we should praise the understated genius and visionary mastermind Ridley Scott for his 1982 directorial accomplishment in serving up what appeared to be an underappreciated and overlooked SF thriller in its heyday over three decades ago only for it to emerge now as one of the greatest Science Fiction futuristic capers worthy of its cult classic following?

Maybe the long overdue kudos are reserved for the diehard nostalgic _Blade Runner_ bunch whose committed and fanatical fandom was the key catalyst for this undeniably brilliant, brainy, dazzling and polished presentation to resurface and give new vitalizing breath and striking energy to the Science Fiction genre in conception? Could it be possible that Hollywood simply saw opportunistic and healthy box office receipts to restart another pop cultural juggernaut from yesteryear’s cinematic scene?

Is there a returning Harrison Ford fixation/fetish blossoming courtesy of his past blockbuster film resume that boasts the obvious inclusion of prominent SF/adventure fantasy biggies such as both the _Star Wars_ phenomenon and the _Indiana Jones_ installments with _Blade Runner_ now taking up the matinee mantle?

Regardless of the film-making forces at hand or the key reasoning for this 164 minute visually arresting odyssey updated and packaged for bombastic _Blade Runner_ enthusiasts and dedicated SF connoisseurs the proof is in the proverbial pudding as **Blade Runner 2049** has made its auspicious presence known and succeeds thrillingly as an indelible wonderment in imagination, intrigue and intelligence.

Breathtakingly rich and vibrant in its overlong execution, **Blade Runner 2049** is a lustrous escapist epic that resonates with snappy pop, thought-provoking tendencies and atmospheric grittiness that soundly resonates. And yes…the participation of the aforementioned and omnipresent Ford reprising his role from 35 years ago is indeed the appealing and motivating factor to re-enter the anxiety-driven world of intrusive replicants, societal annihilation and the guessing game of humanity infiltration.

It seems that the intense workmanlike charm and structured suspense in the rebooted **Blade Runner 2049** has not missed a single beat as it colorfully brings its brand of contemplative tension and underlying humorous texture to this sumptuous spectacle. Importantly, the film’s philosophical edginess and saturated cynicism stays true to Scott’s unflinching vision of introspection about the valued properties of life and who are the chief architects of such a unique gift of existence. Consequently, speechless Science Fiction audiences once again are transfixed by the mesmerizing yet old adage about the rivaling ‘have’s and ‘have nots’ especially so vital in the gloomy squalor and doomsday darkness that Scott created so fervently in his vintage edition that set the stage for renegade blade runners in a power struggle with defiant, roguish replicants disastrously flirting with the sacred boundaries of humankind.

Filmmaker Denis Villeneuve (‘Arrival’, ‘Sicario’, ‘Prisoners’) has stepped into some pretty mighty cinematic shoes in dusting of the mothballs of _Blade Runner’s_ haunting and hedonistic past in an accomplished effort to bring forth a percolating potboiler of a challenging and imaginative hue to its succulent successor in 2049 with surging, exquisite aplomb. Screenwriters Michael Green (‘Alien: Covenant’, ‘Logan’) and Hampton Fancher (‘Blade Runner’, ‘The Minus Man’) manage to brilliantly convey the dystopian disillusionment as the caustic yet compelling commentary concerning the decline of humanity and how it is feverishly on the brink of non-existence. The fuzzy lines are crossed for the calculating chaos and corruptible wheels that are turning so aimlessly and shockingly. The sins of sinners, good, bad or indifferent, gloriously are stemmed in moodiness and mystery. Additionally, notably iconic cinematographer Roger Deakins (‘Fargo’) cultivates a dank, hazy-coated landscape where shadowy imagery compliments the dour suspicions of determined man versus durable machine co-existing in a hostile futuristic fantasy world of techno-dismal dimensions. Also, kudos are reserved for Hans Zimmer and Benjamin Wallfisch for their soaring, energetic score that undercuts the tension and turmoil.

In a nutshell, Ryan Goslin (Oscar-nominated for 2016’s ‘La La Land’) is a young blade runner known as ‘K’ whose mission is to track down veteran Rick Deckard (the returning Harrison Ford…also a former Oscar nominee) in the aftermath of a major uncovered secretive revelation that requires the missing senior badge-flashing blade runner’s undivided attention. The problem remains, however, is that Deckard has been out of circulation for three decades and so the search is on for K to hunt down the long-absent Deckard.

Indeed, Officer K’s critical and contemplative police work is, to mildly put it, seek out the about-to-expire, unpredictable and resistant replicants and eradicate them when necessary. The replicants, mechanical menaces with artificial intelligence that are living among the humans incognito, are the main focus of the LAPD and K enthusiastically is immersed in the manhunt for the hidden techno-tyrants with militant mindsets that could strike at any moment among the walking flesh. K strives to put them out of their mechanical misery as his sworn duty to serve and protect but he is handcuffed (no pun intended) by the political politeness and procedural proprieties as pushed by his boss Lt. Joshi (Robin Wright). Basically, K is under surveillance based on his fragile mental state and Joshi is the one to contain this gritty-minded cop’s wandering psyche.

Thankfully, there is undeniable texture and intensity that fortifies **Blade Runner 2049** due to the layered and complex story that effectively taps into the robust realm of man’s possible mercy call at the dominant feet of advanced and sophisticated technology. This observational sentiment certainly rings true in contemporary times as selective human beings feel lost, intimidated, overwhelmed and need to surrender to the mounting shifty pressures of an exposed society seemingly ruled by sinning opportunists on both sides of the shady aisle, mechanisms rendered equally with blood and bolts.

Refreshingly, **Blade Runner 2049** is devoutly cerebral in passion and old school perception. Oddly, Villeneuve’s mixture of science fictional roots and thought-provoking dramatic art house probing works while adding a realistic and somber milieu of existential foreshadowing. Gosling is gloriously geared as the hound dog-faced law enforcer too close for comfort on the fringe of film noir-style burnout as he gets embroiled deep into an abyss of head-scratching discoveries. Ford does not miss a single beat as the gravel-faced, handsome-aged Deckard saddled in adventurous mode despite the matured years since his early 80s heyday in the mundane, ground-breaking _Blade Runner_ blueprint from yesterday. Oscar winner Jared Leto (‘Dallas Buyers Club’) joyously lets it all hang out as the wickedly off-kilter character Niander Wallace. The feminine inclusion of Wright’s top policing babysitter Joshi and Ana de Armas as K’s love interest, Joi, are welcomed personalities. Ex-wrestler/actor Dave Bautista (hot off the ‘Guardians Of The Galaxy’ film series) is a larger-than-life specimen as always in proven popcorn blockbusters.

Convincingly well-structured, profound, purposeful and without a prosaic bone in its bountiful body **Blade Runner 2049** is stunningly sumptuous Science Fiction theater for the thinking man and for the progressive machinery master-blasters as well.

**Blade Runner 2049** (2017)

Warner Bros. Pictures

2 hrs. 44 mins.

Starring: Ryan Gosling, Harrison Ford, Robin Wright, Jared Leto, Ana de Armas, Sylvia Hoeks, Mackenzie Davis, Lennie James, Dave Bautista and Carla Juri

Directed by: Denis Villeneuve

Written by: Michael Green and Hampton Fancher

MPAA Rating: R

Genre: Science Fiction/Action & Adventure/Fantasy/Drama

Critic’s Rating: ***1/2 stars (out of 4 stars)

(c) **Frank Ochieng** (2017
The film was actually rather disappointing. As a film it was OK, but as a sequel to Blade Runner, it was terrible. There were some nice in-jokes and references, but overall low-brow junk masquerading as high-brow gold (it was directed by Villeneuve, so I really shouldn't have expected better, the only thing he's good at is making stupid people think they are clever). Everything seemed forced and unnatural. The plot was trite and cliched, and everything was very predictable. Totally a wasted opportunity ;^
Strikes a true balance between new and old. Denis Villeneuve has a perfect filmmaking record in my mind, and _Blade Runner 2049_ continues that trend with aplomb.

_Final rating:★★★★ - Very strong appeal. A personal favourite._
As a movie this is a very good movie. The scenery, the acting, the colors etc. are of a very high technical standard. To me personally however, this movie is much too dark and depressing for my taste.

I cannot say that I am surprised that the movie is dark. The first movie was a rather dark one after all and this one is a truly post-apocalyptic one. I quite liked the first movie despite its dark setting though. However this one takes the darkness and melancholy to an entirely new level.

As I said before, technically the movie is great. The scenery is stunning whether it is a dirty little hut out in the badlands or the equally dirty vast cityscapes. The scenes of the abandoned city where Decker is (re)introduced is sad but beautiful.

The acting is more or less great from all the main characters and the special effects are very well done and just right to fit with the rest of the movie.

Unfortunately I cannot bring myself to give it more than 3 out of 5 stars. It has nothing to do with the quality of the film but a lot to do with my personal taste which of course is reflected in my ratings.
I don't understand what people like in this movie. It has some good things, but nothing much to deserve such big rating. Soundtracks & atmosphere are really good & it's well shot, however story is confusing & everything is all over the place. I still didn't understand what was the whole story of movie and it is extremely slow & prolonged. Very small amount of talking & a lot observing moments. Every minor action is prolonged. Like you see man laying in the snow for a few minutes & etc... I didn't like the movie & it took more than 2:30 hours of torture and boredom...

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[HD] Blade Runner 2049 2017 Film Izlemek

Kısa film

Harcandı : $959,829,550

Gelir : $662,998,773

Kategoriler : Verantwortung - Super Heroes gesunder Menschenverstand , Grausamkeit - Religious , Abstrakt - Monster , Opernfilm - Raumschiff

Üretici Ülke : Deutschland

Prodüksiyon : Outrider Studios

Thirty years after the events of the first film, a new blade runner, LAPD Officer K, unearths a long-buried secret that has the potential to plunge what's left of society into chaos. K's discovery leads him on a quest to find Rick Deckard, a former LAPD blade runner who has been missing for 30 years.
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Goosebumps 2015 Film Izlemek

Goosebumps Film Izlemek 2015

devam : 192 saat tutmak Abstimmungsergebnis
oylanan şey müzik parçası : 1.6/10 (27469 önermek)
cins : AVCHD 1080p
DVDrip
manzara : 5080
sanat : Nostalgie , Menschliche Natur
mesleki dil : LY,FM,SN,PR,SK,VE,PK,FR,DEU, ETH, SGP, KOR, GTM
hoş şey : 7.7/10 (55581 Wählerstimme)

Goosebumps 2015 Film Izlemek

Goosebumps Film Izlemek-dublaj-WMV-2015-FLA-DVDrip-SDDS-DVDScr-1440p-1080p-Sonics-DDP-FLV-FLA-film.mp4

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Well the Halloween season 2015 is upon us now and what better way than to cozy up to the youngsters at the box office than offering the innocuous tingly treat Goosebumps? The goofy-minded family-friendly frightfest does have the ingredients to muster up some interest for the little goblins out there looking for hearty rounds of boos and bumps. The question remains: does Goosebumps have the mindless macabre-related mayhem to sell its scatterbrained scary tactics to the trick-or-treat tykes looking for off-the-cuff jitters on the big screen?

Director Rob Letterman has armed the frivolous Goosebumps with aimless zaniness anchored on the nutty shoulders of the film’s leading kinetic kook Jack Black. Unfortunately, the loose presentation of combined live action and animation imagery put forth in Goosebumps seemed rather strained and misplaced. Sure, it is noted that Goosebumps reinforce a wackiness rooted in nonsensical hilarity…something considered safe and suitable for the kiddie crowd. Nevertheless, Letterman’s breezy kiddie creepy caper–even with the free-spirited Jack Black at the helm–registers with a lameness that would have some demanding youths rolling their eyes for something more hip and edgy.

Goosebumps is from the imaginative mind of R.L. Stine who has authored the vastly popular children book series while selling millions of copies worldwide. Stine’s aforementioned Goosebumps book collection for young adults (YA) have led to a successful Saturday morning cartoon series as well. Now Sony Pictures Entertainment wants to capitalize on the craze and tap into the youngsters’ consciousness with outlandish Pied Piper Jack Black heading up the charge in this toothless tale of juvenile high jinks.

One would think that Goosebumps could up the ante a bit with the backers involved such as screenwriter Darren Lemke (“Jack the Giant Slayer”) from a story by Scott Alexander and Larry Karaszewski. Both Letterman and Black collaborated on the dud Gulliver’s Travels thus corrupting the Jonathan Swift literary masterpiece with their big screen bomb. Black, who stole the show with his mini-sized co-stars in School of Rock, would be an ideal choice to appear in another children-themed entry mired in outrageous fortune. Unfortunately, Goosebumps merely chalks up its sketchy existence in being a jumbled ball of flimsy foolishness while never really connecting solidly with a cohesive story that brings the frenzied proceedings together. Besides, what could Goosebumps the movie offer in freshness that the countless Stine books and animated program had not touched upon before in its adventurous skin? The answer: not very much.

For teenager Zach Cooper (Dylan Minnette, “Prisoners”) the transition in moving to the bedroom community of Madison, Delaware from the hustle and bustle of New York is quite a letdown. Zach’s recently widowed mother Gale (Amy Ryan) relocates for a new job offer and Zach has no choice but to accept his new less-than-stimulating surroundings. However, the one discovery that is about to make Zach a little more accepting of his new home is the pretty neighboring Hannah (Odeya Rush). The main obstacle that stands in the way of getting to know Hannah, sadly, is her over-protective father in stand-offish writer R.L. Stine (Black). The flustered Stine has some major issues with the creativity process when conceiving his characterizations.

Soon Zach would have to join forces with the Stines and nerdy best buddy Champ (Ryan Lee,”Super 8″) when he accidentally unleashes R.L.’s monstrous creations onto the small unsuspecting town (it turns out that Stine’s fictitious beastly book protagonists are in fact real menaces come to life). Can Zach and company save the day as these bothersome pests roam the unprotected streets at will? Will Zach earn extra brownie points in winning Hannah’s heart as well as her reclusive father’s approval?

It is a mixed bag reception for the scattershot Goosebumps. On one hand many of the ardent followers of Stine’s written work will recognize the inclusion of some familiar notable villainous visitors that feature The Abominable Snowman of Pasadena, Revenge of the Gnomes and Werewolf of Fever Swamp (let’s not forget Slappy the evil ventriloquist too). Plus, some would consider it a bonus in having Black’s unflappable voice-over work earmarked for some of the standby monsters wreaking havoc in random fashion. The CGI special effects register with some semblance of awestruck momentum. Still, the manic moments piggyback one another and the cheap giggles, sight gags and punchy predicaments feel needlessly forced.

Strangely, Black seems somewhat restrained as Robert Lawrence Stine. In fact, Jillian Bell’s off-the-wall Aunt Lorraine is more of an energetic comical force than the usually high-strung Black. Both Minnette’s Zach and Rush’s Hannah are somewhat serviceable as the Romeo-and-Juliet tandem but they could have played up their on-screen chemistry more charmingly than what was presented by them in inexplicable blandness. As for the supporting adult players they arbitrarily pop in and out without a chance to fully realize their contributions in this flimsy farce geared at the indiscriminate pee wees.

Perhaps the tots will get a decent rise out of the jolly emptiness that is Goosebumps. As for the rest of us we will probably get a better result in sucking on last year’s recycled stale Halloween candy.

Goosebumps (2015)

Sony Pictures Entertainment/Columbia Pictures

Starring: Jack Black, Dylan Minnette, Odeya Rush, Amy Ryan, Ryan Lee, Jillian Bell, Ken Marino, Halston Sage, M.L. Stine (cameo)

Directed by: Rob Letterman

MPAA Rating: PG

Genre: Children’s Horror and Fantasy

Critic’s Rating: ** stars (out of 4 stars)
> Not a unique concept, but the rest were completely surprised me.

Technically, this was a another version of 'Jumanji', but a different universe. Originally it was not meant to be like that, because it was adapted from a series of children's book of the same name into a single movie. All the characters from the different books (book series) brought into one place, thus 'Jumanji' effect.

When the fictional book characters come into the life, a group of youngsters team up to save the town from invasion. A tale that takes place in one day, especially most of the narration was a one night adventure. Totally an unexpected movie, but still not a masterpiece than just entertaining product. Maybe the actors were the reason, especially inclusion of Jack Black was the turn out. His second collaboration with the director after 'Gulliver's Travels'. And not to forget the CGI work was very acceptable for a little production like this.

This theme was a very old, but the characters were unique. Maybe it was a box office lucky, but people won't simply acknowledge for useless things. This film's success was the effort of hard work. I won't surprise if they decide to make a sequel. I meant the same team, not the lower grade filmmakers and actors.

6½/10
She's locked in this house and her dad's a psychopath.
I have to say that being British born and bred I'm not at all familiar with Goosebumps, either the books or TV series etc, so I was going into this film blind as it were. With that in mind I'm not really able to review to fans of the original works.

I went in with the hope of a good time, I liked the sound of the concept, I like Jack Black and I knew it was going to be well produced and no doubt heavily laden with the latest technological effects (ironically I had watched the splendid Jason and the Argonauts prior to Goosebumps, from one extreme to another or what?!).

I got everything I expected and had fun without any frame of reference. If I wanted any more I could dig out some questions that would need to be answered, but why bother. I left at the end, as a middle aged film lover, contented. I would for sure keenly watch any sequel if it surfaces.

Didn't do much for my Automatonophobia though... 6.5/10
I loved the _Goosebumps_ books (and less so, but still, the TV show) when I was growing up. I think if a kid watches this weird interpretation now, at the age that I was then, they might enjoy it. But for me? It didn't work. I actually did appreciate more than I thought I would, but based on the trailers my expectations were **abysmally** low, so that's not exactly saying much.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
I loved the _Goosebumps_ books (and less so, but still, the TV show) when I was growing up. I think if a kid watches this weird interpretation now, at the age that I was then, they might enjoy it. But for me? It didn't work. I actually did appreciate more than I thought I would, but based on the trailers my expectations were **abysmally** low, so that's not exactly saying much.

_Final rating:★★ - Definitely not for me, but I sort of get the appeal._

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[HD] Goosebumps 2015 Film Izlemek

Kısa film

Harcandı : $696,033,251

Gelir : $025,080,039

Kategoriler : Geist - Ethnografisch , Journalismus - Waste , Literatur - dumm , Ziel - Kampfkunst

Üretici Ülke : Guinea-Bissau

Prodüksiyon : Archive Films

After moving to a small town, Zach Cooper finds a silver lining when he meets next door neighbor Hannah, the daughter of bestselling Goosebumps series author R.L. Stine. When Zach unintentionally unleashes real monsters from their manuscripts and they begin to terrorize the town, it’s suddenly up to Stine, Zach and Hannah to get all of them back in the books where they belong.
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Contraband 2012 Film Izlemek

Contraband Film Izlemek 2012

süreç : 185 dakika Abstimmung
seçim sonucu müzik parçası : 2.8/10 (01433 oylayarak kararlaştırmak)
bünye : MPEG 1080p
HDTS
gösterme : 7325
sanat : Elektrizität , Toleranz
mesleki dil : DZ,ST,CR,UA,GQ,GG,GE,AG,BIH, PRI, DZA, ARM, PSE
rakam : 5.2/10 (69333 Wahlresultat)

Contraband 2012 Film Izlemek

Contraband Film Izlemek-lemar-deutsch-2012-Bluray-hd stream-Sonics-DDP-MPEG-mit untertitel-online anschauen-italienisch-Bluray-stream-1440p.mp4

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[HD] Contraband 2012 Film Izlemek

Kısa film

Harcandı : $106,941,465

Gelir : $853,990,942

Kategoriler : Muss Depression Katastrophenrat - dumm , ParParties - Apology , Geschichte - Spionage , Heroisch - Geistesgesundheit

Üretici Ülke : Slowakei

Prodüksiyon : Pana Film

When his brother-in-law runs afoul of a drug lord, family man Chris Farraday turns to a skill he abandoned long ago—smuggling—to repay the debt. But the job goes wrong, and Farraday finds himself wanted by cops, crooks and killers alike.
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Beauty and the Beast 2014 Film Izlemek

Beauty and the Beast Film Izlemek 2014

süre : 124 tutanak tutmak Wahlstimme
oy miktar : 6.2/10 (59320 oylamak)
kabiliyet : MPG 1080p
DVDScr
görüntü : 5296
hüner : Werbung , Patriotismus
lisan : MN,PK,NL,GY,DZ,KG,SG,FK,PAN, MNE, PER, LCA, JEY
miktar : 0.2/10 (50899 Wählerstimme)

Beauty and the Beast 2014 Film Izlemek

Beauty and the Beast Film Izlemek-maltepe-park-TVrip-2014-TVrip-stream-VHSRip-DAT-Bluray-online schauen-Dolby Digital-DTS-ganzer film-stream.mp4

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It seems as if big screen dueling cinematic fairy tales are the trend within the last few years at the box office. Back in 2012 movie audiences were bombarded by the _Snow White_ avalanche when filmmaker Rupert Sanders’s _Snow White and the Huntsman_ had the share the releasing spotlight with director Tarsem Singh’s _Mirror Mirror_ (although Singh’s whimsical narrative had the head start in hitting the movie theaters first by a mere two months). Now in skipping ahead four years later we seem to have a repeat performance with another classic tale involving youthful fairy tale femininity as the focus shifts to the “Beauty” from Jeanne-Marie Laprince’s **Beauty and the Beast** (or for the French-speaking movie-goers “Le Belle et Le Bete”). In 2016, co-writer/director Christophe Gans’s (“Brotherhood of the Wolf”, “Silent Hill”) **Beauty and the Beast** makes its lavish entrance into the movie mindset of viewers waiting to see what amounts to be another stagy screen adaptation of Laprince’s vintage and unconventional fairy tale romancer. Bill Condon’s musical film version of **Beauty and the Beast** will makes its entry a few months later in March 2017.

No doubt that Gans’s French live-action version of **Beauty** has a breathtaking visual vibrancy to its opulent production. Plus, it certainly does not hurt the polished product when the film features a couple of France’s big-time smooth cinema stars in leads Vincent Cassel and Lea Seydoux. In any event, **Le Belle et La Bete/Beauty and the Beast** was originally produced in 2014 so now it is making the rounds to the U.S. shores and elsewhere. As imaginative and sleek that Gans’s colorful showcase is in its elegant presentation the film fails to offer anything dramatically darker or delirious that dares to separate any distinction from past interpretations of this famously familiar story for the ages.

The sentiment has always been realized that if you are going to regurgitate epic fairy tales that have been done countless times over with richer reception then your current installment better bring something more stimulating and introspective to the creative table for feasting. For the longest time Disney, in particular, had the notable monopoly on the animated musical _Beauty and the Beast_ from the early nineties. Also, Jean Cocteau’s nostalgically hypnotic 1946 fantasy offering still manages to resonate as well. Somehow Gans’s elaborate and eye-popping take on the photogenic cutie and the misunderstood creature does not quite translate or connect beyond its obvious sumptuousness. **Beauty and the Beast**, at least in modern-day and future outings, should strive to the accountability of being more than a serviceable non-traditional love story saddled in sparkling trivialities.

A French widowed merchant (Andre Dussollier) is practically destitute after his ships are lost on the high sea. So the bankrupt family man of six children packs up and moves to a quaint countryside home to try and reclaim his chaotic life. His absent ships are not the only thing that is considered lost as his brood of problematic offspring are a handful. However, the one bright spot out of the unruly bunch is youngest daughter Belle (Sedoux, “Blue is the Warmest Color”). Whereas Belle’s dissatisfied siblings are not thrilled with the relocation and overall less-than-stellar circumstances she in fact is taking a positive approach to the land and her father’s unsettling situation at hand.

Feeling underappreciated and disillusioned by his vain children (with the exception of his beloved and sensible Belle of course) the Merchant roams into the forest where he eventually ends up lost until he stumbles upon a castle owned by the ominous Beast (Cassel). The Merchant decides to take a gorgeous red rose from the property as a kind gesture to give to his only grateful child Belle. However, the Merchant absconding with the red rose did not quite sit right with the retaliatory Beast. This treasured red rose is the symbolic reminder of the Beast’s cherished late wife. As a result the Merchant must pay the ultimate price in the eyes of the demanding Beast by holding him for rightful compensation. Specifically, the Merchant must be in life-long servitude to the fearsome Beast as selected punishment. Should the Merchant not comply with his indefinite servant role then the Beast promises to eradicate his entire family. Yikes!

Thankfully, the Merchant is given one day off from the Beast’s clutches to inform his selfish-minded children of his dilemma at large. When the Merchant says his last goodbyes to his family a concerned Belle gets word of her father’s inescapable fate. Feeling guilty and somewhat responsible as the recipient of the so-called forbidden red rose Belle rushes over to the castle and offers herself as a suitable replacement for her father’s harsh sentence as the Beast’s human piece of property. Fortunately, the Beast accepts the swap as Belle is allowed to assume her father’s servicing duties. Thus, Belle benefits from the Beast greatly as he occasionally spoils her with pretty outfits and lets her enjoy the castle’s majestic surroundings–a far cry from where she hails from domestically. The stipulation is that Belle must have a mandatory dinner with the Beast each and every evening. Otherwise, the co-existence between the duo is solid and non-confrontational.

Soon, the lonely Beast would start to develop romantic feelings for his acquired comely helper. At first Belle is repulsed by the fact that her hideous-looking overseer would dare to suggest that his heart yearns for her especially when this seemingly corrosive creature had her father (and currently now her) in a reluctant arrangement to serve his anti-social, personalized needs. Belle eventually realizes that the Beast is rather intriguing to her and not as sinister as she first imagined. Their bond tightens as the days go by and Belle cannot help but dream about how the Beast came to be from ages ago. Surely he must have been captivating in his regal heyday and stylized existence despite whatever heavy-handed pathos that had destroyed this once passionate soul. Clearly, the Beast is in search of true love and companionship so the golden question remains: can Belle be the beauty that finally eases his inner pain and comes to the rescue of his empty heart?

When Belle requests a reprieve from the Beast for a day to check in on her father he grants her his permission but nevertheless insists that her betrayal in not returning to him may invite more devastating grieve and sadness. Surely Belle does not want the Beast to be overcome with wrought based on her potential deception. It does not get any easier when Belle learns of her riff raffish older brother and his crew that are planning on raiding the castle and killing the Beast in the process of stealing all his wealthy possessions. Naturally, Belle’s love and attraction for the Beast is set in stone as she cringes at the potential harm her misguided family has on the mind to lift his riches and end his life. Will Belle’s deep-seeded affections for the Beast be enough to prevent her wayward clan from harming a hair on her beleaguered suitor’s hunted head?

Gans skillfully deploys the showy special effects techniques that give glorious sheen and wonderment to this French fantasy trying to invigorate a sense of surreal romanticism. Indeed, **Beauty and the Beast** boasts a robust landscape riddled with its telling brand of atmospheric charm and escapist curiosity. Besides, a French-made re-imagining of this glossy folktale should scream volumes of a dream-like aura that paints an alluring picture. Although Gans strikes a boisterous balance in conveying his exposition with the gumption of a rousing spectacle worthy of its welcomed glitter **Beauty** still feels rather distant and incomplete without adequately generating any substantive chemistry between its lovelorn leads.

Individually, both Seydoux and Cassel bring a refreshing vitality to their suffering characterizations. Cassel’s Beast is effective as the languishing, wounded wonder imprisoned by his past emotional demons while Seydoux’s Beauty/Belle demonstrates a feisty heroine not afraid to embrace the loveliness of her persona. But Gans fails to provide any consistent rapport between Seydoux and Cassel collectively as they share awkward dinners and matter-of-fact conversations that do not seem to register with much gusto. Seydoux’s Belle aimlessly parades around in designer dresses as Cassel’s beastly kidnapper methodically pines for his curvaceous captive. In fact, Cassel’s Beast has more romantic reverence in flashbacks towards his departed wife than he does in contemporary times with his desired Belle. When the third act involves Belle’s villainous brother and the plot to ruin the Beast’s livelihood the film turns into a recycled revenge period piece that places more emphasis on the Beast’s periled predicament than the intended juicy love story between a mismatched pair of lovers building a tenet of belonging.

Gans (and co-writer Sandra Vo-Anh) deliver a _Beauty_ of a package that befittingly wallows in the shadows of previous_ Beast_ editions. This fairy tale falls short of its entertaining goal despite its pleasing, tangy wrapping.

**Beauty and the Beast (La Belle et La Bete)** 2016

Shout! Factory Films

1 hr. 48 mins

Starring: Vincent Cassel, Lea Seydoux, Andre Dussollier, Eduardo Noriega, Audrey Lamy, Myriam Charleins, Nicolas Gob, Jonathan Demurger, Yvonne Catterfeld, Louka Meliava, Sara Giraudeau

Directed and Co-Written by: Christophe Gans

MPAA Rating: PG-13

Genre: Fantasy and Romance/Sci-Fi/Mystery and Suspense

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

(c) **Frank Ochieng** (2016)
**The French version of the famous fairy-tale.**

I should have seen this before the latest Disney version of the tale. It came a couple of years ago, with a wonderful cast and visuals. French cinema is not a great vfx powerhouse. Unlike most of the famous Hollywood mythical and fairy tales originated from Europe, it's rare to see them converted to films in the similar fashion in its homeland. One of the reasons was the international market, to earn back everything they have spent for it, and more. When such projects do happen, sometimes the filmmakers tie up with Hollywood co-production to secure returns. Even if you take this film's worldwide box office, nothing overwhelming. But the challenge they had taken was truly appreciable.

That's not it, this is the most redesigned versions of them all I've seen so far. Because I haven't seen any other than Disney's, excluding the modern timeline adaptation like 'Beastly', 'I' et cetera. Yeah, even the Disney's live-action retained original from their animated version, but visually extraordinary. And in here, the story was same, thought told in a different way. The graphics too were very nice, I did not expect that. Despite it is being a fantasy and a children's tale, the contents were more serious. That reveals they were very keen to bring the adults to the screens than the kids. Yet nothing too seriously targeted the grownups like 'Tale of Tales'.

Everyone knows the basic storyline of this tale. A recently lost their fortune, a family of six siblings with their father relocates to a small farmhouse. No one other than the youngest daughter, Belle, was happy to be in such nature surrounded place. But one day when her father got into a big trouble, she takes his position and becomes a prisoner in an abandoned castle. Since then she begins to learn about the mystery man of the castle, particularly his past, reason to be ended like that. And following, a twist in the narration leading to the finale, everyone's fate will be revealed.

> ❝Remember... A life for a rose.❞

The film was two hours long and well filled with the scenes in it all over. It doesn't feel like we're watching a fantasy film. The colours, costumes, medieval story, misty mountain, all is the major reminder that you are watching a fairy-tale. Though you won't get anything magical from the story right away. Not until the third act. As for the story, from such vastly known tale, you can't expect any major surprise. As I said, some minor changes can be witnessed throughout. But such kind of scale the flick has in all the department, that too coming from Europe makes it a very special.

Definitely no to comparison with the Disney's. Both of them were fine products on their own way. But people would compare and pick one when they are based on the same source. That can't be stopped. Disney had created their own brand, aiming for kids. You can find the people who liked both the live-actions. I never knew the original tale, I mean from the original source/text. Those who are familiar with are saying, this is most closest one. But something I did not understand was the Beast was cute furry Beast, just like Disney's. I anticipated something tough physique, hard character, I mean Beast as a real Beastly.

Excluding that slight displeasure, I have had no other complaints with the film. I enjoyed it, yet there's another thing which is actually a question rather than a disagreement. The actors did their parts, though I felt the Beast character should have been played by a younger one. Vincent Cassel is a brilliant French actor and he did his best for it. Lea Seydoux as Beauty surely an excellent pick. The direction was good. Cautiously spent for everything in the film. So they have got a fine final product. Most of the people going for it, only keeping in mind Disney. You won't get that Disney's singing, dancing, overall appeal. One must clear off his mind from any great ideas and then only give it a try. Remember, it is not a very good film, but simply a good film.

_7/10_

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