Category : ดูหนังออนไลน์ฟรี

Reviews Logan Is “Logan” more powerful because of what the superhero

Reviews Logan Is “Logan” more powerful because of what the superhero

Logan Font | Hyperpix

Is “Logan” more powerful because of what the superhero genre has delivered over the last decade?

Does it seem both groundbreaking and classic because it doesn’t feel like a modern superhero movie,

especially those with the Marvel brand? Don’t worry.

I’m not going to dissect the flaws of the Marvel and DC brands,

but it’s undeniable that the modern superhero movie has relied on CGI,

particularly in final acts comprised almost entirely of apocalyptic explosions.

And so many of them have served as bridges between franchise entries

that one feels like they’re constantly watching previews for the next movie instead of experiencing the one they’re watching.

“Logan” has stakes that feel real, and fight choreography that’s fluid and gorgeous instead

of just computer-generated effects. Most importantly, “Logan” has characters with which you identify and about whom you care.

It’s not just “great for a superhero movie,” it’s a great movie for any genre. อ่านต่อ

 


Reviews parasite It’s so clichéd at this point in the critical

Reviews parasite It’s so clichéd at this point in the critical

Parasite review: A chilling thrill ride about inequality - Vox

It’s so clichéd at this point in the critical conversation during the hot take season of festivals to say,

“You’ve never seen a movie quite like X.”

Such a statement has become overused to such a degree that it’s impossible to be taken seriously,

like how too many major new movies are gifted the m-word: masterpiece.

So how do critics convey when a film truly is unexpectedly,

brilliantly unpredictable in ways that feel revelatory?

And what do we do when we see an actual “masterpiece” in this era of critics crying wolf?

Especially one with so many twists and turns that the best writing about it

will be long after spoiler warnings aren’t needed? I’ll do my best because Bong Joon-ho’s

“Parasite” is unquestionably one of the best films of the year. Just trust me on this one.

Bong has made several films about class (including “Snowpiercer” and “Okja”),

but “Parasite” may be his most daring examination of the structural inequity that has come to define the world.

It is a tonal juggling act that first feels like a satire—a comedy of manners

that bounces a group of lovable con artists off a very wealthy family of awkward eccentrics.

And then Bong takes a hard right turn that asks us what we’re watching and sends us hurtling to bloodshed.

Can the poor really just step into the world of the rich?

The second half of “Parasite” is one of the most daring things I’ve seen in years narratively.

The film constantly threatens to come apart—to take one convoluted turn too many in ways that sink the project—but

Bong holds it all together, and the result is breathtaking.

Kim Ki-woo (Choi Woo-sik) and his family live on the edge of poverty.

They fold pizza boxes for a delivery company to make some cash, steal wi-fi from the coffee shop nearby,

and leave the windows open when the neighborhood is being fumigated to deal with their own infestation.

Kim Ki-woo’s life changes when a friend offers to recommend him as an English tutor for a girl

he’s been working with as the friend has to go out of the country for a while.อ่านต่อ


Reviews Mad Max: Fury Road George Miller’s “Mad Max” films

Reviews Mad Max: Fury Road George Miller’s “Mad Max” films

Best 2010s car chase movies: From John Wick to Mad Max | British GQ

George Miller’s “Mad Max” films didn’t just make Mel Gibson a star—they completely
transformed post-apocalyptic entertainment with their visceral stunt work and singular vision of an increasingly desperate future.
Three decades after the last film, the oft-maligned “Mad Max Beyond Thunderdome,”
Miller finally returns to this desolate landscape for the highly-anticipated “Mad Max: Fury Road,”
recasting the title role in the grizzled visage of Tom Hardy and upping the stakes
with promises of vehicular mayhem on a level commensurate with what modern CGI audiences have come to expect.
From its very first scenes, “Fury Road” vibrates with the energy of a veteran filmmaker working at the top of his game,
pushing us forward without the cheap special effects or paper-thin characters that have so often defined the modern summer blockbuster.
Miller hasn’t just returned with a new installment in a money-making franchise.อ่านต่อ

 


Reviews A tiger can crowd a lifeboat Ang Lee’s “Life of Pi” is a miraculous

Reviews A tiger can crowd a lifeboat Ang Lee’s “Life of Pi” is a miraculous

Life of Pi - A Film - Life of Pi

Ang Lee’s “Life of Pi” is a miraculous achievement of storytelling and a landmark of visual mastery.
Inspired by a worldwide best-seller that many readers must have assumed was unfilmable,
it is a triumph over its difficulties. It is also a moving spiritual achievement,
a movie whose title could have been shortened to “life.”
The story involves the 227 days that its teenage hero spends drifting across the Pacific in a lifeboat with a Bengal tiger.
They find themselves in the same boat after an amusing and colorful prologue,
which in itself could have been enlarged into an exciting family film.
Then it expands into a parable of survival, acceptance and adaptation. I imagine even Yann Martel,
the novel’s French-Canadian author, must be delighted to see how the usual kind of
Hollywood manhandling has been sidestepped by Lee’s poetic idealism.

The story begins in a small family zoo in Pondichery, India, where the boy christened Piscine is raised.

Piscine translates from French to English as “swimming pool,” but in an India where many more speak English than French,

his playmates of course nickname him “pee.” Determined to put an end to this, อ่านต่อ

 


Reviews Gone Girl As directed by David Fincher (“Se7en,” “Zodiac”)

Reviews Gone Girl As directed by David Fincher (“Se7en,” “Zodiac”)

Why Gone Girl's Amy Dunne is the Most Disturbing Female Villain of All Time | Psych of a Psycho - YouTube

“Gone Girl” is art and entertainment, a thriller and an issue, and an eerily assured audience picture.
It is also a film that shifts emphasis and perspective so many times that you may feel as though you’re watching five short movies strung together,
each morphing into the next.
At first, “Gone Girl” seems to tell the story of a man who might or might not have killed somebody,
and is so closed off and alienating (like Bruno Richard Hauptmann, perhaps) that even people
who believe in his innocence can’t help wondering. His name is Nick Dunne (Ben Affleck). He’s a college professor and a blocked writer.
His dissatisfied wife Amy (Rosamund Pike) disappears one day,
prompting local cops to open a missing persons case that becomes a murder investigation
after three days pass without word from her. Amy and Nick seemed like a happy couple. The snippets from Amy’s diary,
read in voice-over by Amy and accompanied by flashbacks,
hint at differences between them, but not the sort that seem irreconcilable (not at first, anyway).
Were things ever really all that sunny, though? If they weren’t,

which spouse was the main source of rancor? Can we trust what Nick tells the homicide detectives

(Kim Dickens and Patrick Fugit, both outstanding) who investigate Amy’s case?

Can we trust what Amy tells us, via her diary? Is one of the spouses lying?

Are they both lying? If so, to what end?

The film raises these questions and others, and it answers nearly all of them,

often in boldface, all-caps sentences that end with exclamation points. It is not a subtle film, nor is it trying to be.

As directed by David Fincher (“Se7en,” “Zodiac”) and as adapted by Gillian Flynn from her bestselling potboiler,

“Gone Girl” suggests one of those overheated,

fairly comic-bookish “R”-rated thrillers that were everywhere in the late ’80s and early ’90s.

Like those sorts of pictures, “Gone Girl” is dependent upon reversals of expectation and point-of-view.

As soon as you get a handle on what it is, it becomes something else, then something else again.

Describing its storyline in detail would ruin aspects that would be counted as selling points for anyone who hasn’t read Flynn’s book. อ่านต่อ

 


The first time we see Michael Keaton in his tighty-whities in “Birdman”

BIRDMAN (or, THE UNEXPECTED VIRTUE OF IGNORANCE) | Wordless Music

The first time we see Michael Keaton in his tighty-whities in “Birdman”
it’s from behind. His character, a formerly high-flying movie star, is sitting in the lotus position in his dressing room of a historic Broadway theatre, only he’s levitating above the ground.
Bathed in sunlight streaming in from an open window, he looks peaceful.
But a voice inside his head is growling, grumbling,
gnawing at him grotesquely about matters both large and small.
The next time we see Keaton in his tighty-whities in “Birdman,”

he’s dashing frantically through Times Square at night, having accidentally locked himself out of that same theatre in the middle of a performance of a Raymond Carver production that he stars in, wrote and directed.

He’s swimming upstream through a river of gawking tourists, autograph seekers, food carts and street performers.

But despite the chaos that surrounds him, he seems purposeful, driven and–for the first time–oddly content.

These are the extremes that director Alejandro G. Inarritu navigates with audacious ambition and spectacular skill

in “Birdman”–the full title of which is “Birdman or (The Unexpected Virtue of Ignorance).” อ่านต่อ


Film Review Baby Driver : Baby Driver is a concerto

Film Review Baby Driver : Baby Driver is a concerto

Movie Review: Baby Driver & Dunkirk | Destination KSA

Poetry before prose. Baby Driver is a concerto in sixth gear and an adrenaline shot to the heart.
Better films may release this year,
but it’s difficult to imagine any supplying cinematic joy in such generous doses.
If Fury Road was Wagner on wheels, this chrome wheeled,
fuel injected musical is Beethoven’s Ninth.
That Edgar Wright is responsible for it is hardly surprising. Few directors since Steven
Spielberg have been able to marshal this convincingly
the various tricks of cinema for the purposes of pure entertainment.
Each whip pan, every tracking shot is deployed for maximum impact.
In an age of bewilderingly quick editing,
Wright seems to cut at exactly the right moment—and to elicit a reaction.
A breathless one-take might be followed by a chopped-up chase:
whatever makes the scene work, the material sing.

All this trickery is grounded in the familiarity of genre.
Baby Driver is, essentially, a “one last job and I’m out” movie,
a scenario that’s as central to the heist narrative as
the exercise montage is to the sports film. Baby (Ansel Elgort) is a getaway driver,
a prodigiously talented young man with a quirk: he must have music—his music,
spread over multiple iPods—playing in his ears constantly,
to drown out the tinnitus that’s dogged him ever since an accident when he was little.
He’s in debt to Doc (Kevin Spacey),
a crime boss whose car he mistakenly stole and who’s extracting payment for that one heist at a time.

In 1973, George Lucas introduced the idea of a mixtape soundtrack with American Graffiti,
and Martin Scorsese timed Harvey Kietel’s head hitting
the pillow in Mean Streets to the pistol-shot opening of Be My Baby.
The backbeat of rock has been a fixture in American film-making ever since, yet,
even within this tradition, Wright does something unique,
using Baby’s tinnitus to create a wholly convincing rock musical.
Movement is inextricably linked to sound, only, instead of just having bodies in motion,
Wright makes the entire screen move to the beat.
Screeching tires blend with guitar solos, fingers drum in time to the percussion.
Elgort dances, the camera dances,
the film seems to dance too. อ่านต่อ


Reviews Arrival about the recent surge of personal stories

Reviews Arrival about the recent surge of personal stories

Arrival -

Much has been written about the recent surge of personal stories being told through the horror genre in films like “It Follows,”
“The Witch” and “The Babadook,” but there’s an equally interesting trend in the science fiction genre as well.
Over the last few years, we’ve seen the genre used not only to examine the power of space travel or a post-apocalyptic future
but as a way to address common humanity more than futuristic adventure stories. Joining films like “Gravity,”
“Interstellar” and “The Martian” is Denis Villeneuve’s ambitious and moving “ Arrival ,”
a movie that’s about the day the universe changed forever but becomes more focused on a single story even as it’s expanding its worldwide narrative.

It is more about grief, time, communication and compassion than it is warp speed, and it’s a film that asks questions.

How do we approach that which terrifies us? Why is it important to communicate through language and not action? อ่านต่อ


Frozen Review Princess Elsa (Menzel) can create snow

Frozen Review Princess Elsa (Menzel) can create snow

Frozen 2 | Disney Movies | Thailand

Princess Elsa (Menzel) can create snow, and as a child she accidentally injures her sister Anna (Bell). She tries to control her gift, but when her power is revealed at her coronation, she flees in panic — plunging the kingdom into eternal winter. Anna must go after her and find a way to undo the spell.
Disney has always taken a fast and loose approach to adapting classic fairy tales, adding dragons to Sleeping Beauty, talking crabs to The Little Mermaid and dancing teapots to Beauty And The Beast. But their adaptations also have distinct phases: there were the early,
faintly Germanic fantasies; the lacklustre ’80s and the feisty ’90s princesses. Now we’re in the Tangled era, notable for big Broadway numbers,
large quadrupeds that act like canines and adjectival titles that don’t mention the heroine.
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Review “Coco” is the sprightly story of a young boy

Image result for coco

“Coco” is the sprightly story of a young boy who wants to be a musician and somehow finds himself communing with talking skeletons in the land of the dead. Directed by Lee Unkrich (“Toy Story 3”) and veteran Pixar animator Adrian Molina, \

and drawing heavily on Mexican folklore and traditional designs, it has catchy music, a complex but comprehensible plot, and bits of domestic comedy and media satire.

Most of the time the movie is a knockabout slapstick comedy with a “Back to the Future”

feeling, staging grand action sequences and feeding audiences new plot information every few minutes, but of course, being a Pixar film,

“Coco” is also building toward emotionally overwhelming moments, so stealthily that you may be surprised to find yourself wiping away a tear even though the studio has been using the sneak-attack playbook for decades.

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The film’s hero, twelve-year old Miguel Riviera (voice by Anthony Gonzalez), lives in the small town of Santa Cecilia.
He’s a goodhearted child who loves to play guitar and idolizes the greatest popular singer-songwriter of the 1920s and ’30s,
Ernesto de la Cruz (Benjamin Bratt),

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