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https://youtu.be/UyW0jXYe7i8
A film, amelyet filmnek, mozgóképnek vagy mozgóképnek is neveznek, vizuålis
mƱvészeti forma, amelyet olyan élmények szimulålåsåra hasznålnak, amelyek
mozgĂłkĂ©pek segĂtsĂ©gĂ©vel kommunikĂĄlnak ötleteket, törtĂ©neteket, Ă©rzĂ©kelĂ©seket,
Ă©rzĂ©seket, szĂ©psĂ©get vagy lĂ©gkört. Ezeket a kĂ©peket ĂĄltalĂĄban hang kĂsĂ©ri,
ritkĂĄbban pedig mĂĄs Ă©rzĂ©kszervi ingerlĂ©s. [1] Az operatĆr rövidĂtĂ©ssel
ellĂĄtott âmoziâ szĂłt gyakran hasznĂĄljĂĄk a filmkĂ©szĂtĂ©sre Ă©s a filmiparra,
valamint az ennek eredmĂ©nyekĂ©nt lĂ©trejövĆ mƱvĂ©szeti formĂĄra.
â STREAMING MEDIA â
A streaming média olyan multimédia, amelyet a végfelhasznåló folyamatosan
fogad, Ă©s amelyet a szolgĂĄltatĂł kĂ©zbesĂt. Az âstreamâ ige a mĂ©dia ilyen mĂłdon
törtĂ©nĆ eljuttatĂĄsĂĄnak vagy megszerzĂ©sĂ©nek folyamatĂĄra utal. [PontosĂtĂĄs
szĂŒksĂ©ges] A streaming a közeg kĂ©zbesĂtĂ©si mĂłdjĂĄra utal, nem pedig magĂĄra a
közegre. A terjesztĂ©si mĂłd megkĂŒlönböztetĂ©se a terjesztett mĂ©diĂĄtĂłl
kifejezetten a telekommunikĂĄciĂłs hĂĄlĂłzatokra vonatkozik, mivel a kĂ©zbesĂtĂ©si
rendszerek többsĂ©ge vagy eredetileg streaming (pl. RĂĄdiĂł, televĂziĂł,
streaming alkalmazåsok), vagy eleve nem streaming (pl. Könyvek,
videokazettĂĄk, audio CD-k). Az interneten törtĂ©nĆ tartalom tovĂĄbbĂtĂĄsĂĄval
kihĂvĂĄsok vannak. PĂ©ldĂĄul azok a felhasznĂĄlĂłk, akiknek nincs elegendĆ
sĂĄvszĂ©lessĂ©gƱ internetkapcsolata, a tartalom leĂĄllĂtĂĄsĂĄt, kĂ©sĂ©sĂ©t vagy lassĂș
pufferelését tapasztalhatjåk. A kompatibilis hardver- vagy
szoftverrendszerrel nem rendelkezĆ felhasznĂĄlĂłk nem biztos, hogy kĂ©pesek
bizonyos tartalmak streamelésére.
Az Ă©lĆ közvetĂtĂ©s az internetes tartalom valĂłs idĆben törtĂ©nĆ eljuttatĂĄsa,
ugyanĂșgy, mint az Ă©lĆ televĂziĂł televĂziĂłs jelen keresztĂŒl sugĂĄrozza a
tartalmat rĂĄdiĂłn keresztĂŒl. Az Ă©lĆ internetes közvetĂtĂ©shez szĂŒksĂ©g van
egyfajta forrĂĄsmĂ©diĂĄra (pl. Videokamera, audio interfĂ©sz, kĂ©pernyĆfelvevĆ
szoftver), kódolóra a tartalom digitalizålåsåra, média kiadóra és
tartalomszolgĂĄltatĂł hĂĄlĂłzatra a tartalom terjesztĂ©se Ă©s tovĂĄbbĂtĂĄsa
Ă©rdekĂ©ben. Az Ă©lĆ közvetĂtĂ©st nem kell rögzĂteni a kiindulĂĄsi ponton, bĂĄr
gyakran.
A streaming a fĂĄjlletöltĂ©s alternatĂvĂĄja, egy olyan folyamat, amelyben a
vĂ©gfelhasznĂĄlĂł a teljes fĂĄjlt megszerzi a tartalomhoz, mielĆtt megnĂ©znĂ© vagy
meghallgatnå. A streaming révén a végfelhasznåló a médialejåtszójåval
elkezdheti a digitĂĄlis videĂł vagy digitĂĄlis audiotartalom lejĂĄtszĂĄsĂĄt,
mielĆtt a teljes fĂĄjlt tovĂĄbbĂtotta volna. A âstreaming mĂ©diaâ kifejezĂ©s
alkalmazhatĂł a videĂłn Ă©s a hangon kĂvĂŒli egyĂ©b mĂ©diumokra is, pĂ©ldĂĄul Ă©lĆ
zårt feliratokra, ticker szalagra és valós idejƱ szövegre, amelyek mind
âstreaming textâ -nak szĂĄmĂtanak.
â SZERZĆI JOG TARTALMA â
A szerzĆi jog a szellemi tulajdon egy olyan tĂpusa, amely kizĂĄrĂłlagos jogot
ad tulajdonosĂĄnak a kreatĂv alkotĂĄs mĂĄsolatĂĄnak elkĂ©szĂtĂ©sĂ©re, ĂĄltalĂĄban
korlĂĄtozott ideig. [1] [2] [3] [4] [5] Az alkotĂł munka lehet irodalmi,
mƱvĂ©szeti, oktatĂĄsi vagy zenei formĂĄban. A szerzĆi jog cĂ©lja egy ötlet
eredeti kifejezĂ©sĂ©nek vĂ©delme kreatĂv alkotĂĄs formĂĄjĂĄban, de nem maga az
ötlet. [6] [7] [8] A szerzĆi jogokra korlĂĄtozĂĄsok vonatkoznak közĂ©rdekƱ
megfontolĂĄsok alapjĂĄn, pĂ©ldĂĄul az EgyesĂŒlt Ăllamokban a tisztessĂ©ges
hasznĂĄlat doktrĂnĂĄjĂĄrĂłl.
Egyes joghatĂłsĂĄgok megkövetelik a szerzĆi joggal vĂ©dett mƱvek kĂ©zzelfoghatĂł
javĂtĂĄsĂĄt. Gyakran megosztjĂĄk több szerzĆ között, akik mindegyike rendelkezik
a mƱ hasznålatåra vagy licencelésére vonatkozó jogokkal, és akiket åltalåban
jogtulajdonosoknak neveznek. [IdĂ©zet szĂŒksĂ©ges] [9] [10] [11] [12] Ezek a
jogok gyakran magukban foglaljĂĄk a sokszorosĂtĂĄst, a szĂĄrmaztatott mƱvek
feletti ellenĆrzĂ©st, a terjesztĂ©st, a nyilvĂĄnos elĆadĂĄst Ă©s az erkölcsi
jogokat, pĂ©ldĂĄul a tulajdonĂtĂĄst.
A szerzĆi jogokat közjog adhatja meg, Ă©s ebben az esetben âterĂŒleti
jogoknakâ minĆsĂŒlnek. Ez azt jelenti, hogy egy bizonyos ĂĄllam törvĂ©nyei ĂĄltal
biztosĂtott szerzĆi jogok nem terjednek tĂșl az adott joghatĂłsĂĄg terĂŒletĂ©n. Az
ilyen tĂpusĂș szerzĆi jogok orszĂĄgonkĂ©nt eltĂ©rĆek; sok orszĂĄg, Ă©s nĂ©ha az
orszågok nagy csoportja, megållapodåst kötött mås orszågokkal az alkalmazandó
eljĂĄrĂĄsokrĂłl, ha a mƱvek âĂĄtlĂ©pikâ a nemzeti hatĂĄrokat, vagy a nemzeti jogok
ellentmondĂĄsosak. [14]
ĂltalĂĄban a szerzĆi jog közjogi idĆtartama az alkotĂł halĂĄla utĂĄn 50â100
Ă©vvel jĂĄr le, a joghatĂłsĂĄgtĂłl fĂŒggĆen. Egyes orszĂĄgok bizonyos szerzĆi jogi
formasĂĄgokat [5] követelnek meg a szerzĆi jogok megĂĄllapĂtĂĄsĂĄhoz, mĂĄsok
elismerik a szerzĆi jogokat minden elkĂ©szĂŒlt mƱben, hivatalos regisztrĂĄciĂł
nĂ©lkĂŒl.
ĂltalĂĄnos vĂ©lemĂ©ny, hogy a kulturĂĄlis sokszĂnƱsĂ©g Ă©s a kreativitĂĄs
elĆmozdĂtĂĄsĂĄhoz elengedhetetlen a szerzĆi jog. Parc azonban azt ĂĄllĂtja, hogy
az uralkodó hiedelmekkel ellentétben az utånzås és a måsolås nem korlåtozza a
kulturĂĄlis kreativitĂĄst vagy a sokszĂnƱsĂ©get, hanem valĂłjĂĄban tovĂĄbb
tĂĄmogatja Ćket. Ezt az Ă©rvet szĂĄmos pĂ©lda alĂĄtĂĄmasztotta, pĂ©ldĂĄul Millet Ă©s
Van Gogh, Picasso, Manet Ă©s Monet stb. [15]
â SZOLGĂLTATĂSOK ĂRUK â
A hitel (latin hitelbĆl: â(Ć / Ć) hiszâ) az a bizalom, amely lehetĆvĂ© teszi
az egyik fĂ©l szĂĄmĂĄra, hogy pĂ©nzt vagy forrĂĄsokat nyĂșjtson egy mĂĄsik fĂ©lnek,
ahol a mĂĄsodik fĂ©l nem tĂ©rĂti meg azonnal az elsĆ felet (ezĂĄltal adĂłssĂĄg
keletkezik), de megĂgĂ©ri, hogy ezeket az erĆforrĂĄsokat (vagy mĂĄs, azonos
Ă©rtĂ©kƱ anyagokat) kĂ©sĆbb visszafizeti vagy visszakĂŒldi. [1] MĂĄs szavakkal, a
hitel a kölcsönössĂ©g formĂĄlis, jogilag Ă©rvĂ©nyesĂthetĆvĂ© Ă©s kiterjeszthetĆvĂ©
tĂ©telĂ©nek mĂłdja fĂŒggetlen emberek nagy csoportja szĂĄmĂĄra.
A rendelkezĂ©sre bocsĂĄtott forrĂĄsok lehetnek pĂ©nzĂŒgyi (pl. Kölcsön
odaĂtĂ©lĂ©se), vagy tartalmazhatnak ĂĄrukat vagy szolgĂĄltatĂĄsokat (pl.
Fogyasztåsi hitel). A hitel magåban foglalja a halasztott fizetés bårmilyen
formĂĄjĂĄt. [2] A hitelt egy hitelezĆ, mĂĄs nĂ©ven hitelezĆ, kiterjeszti egy
adĂłsra, mĂĄs nĂ©ven hitelfelvevĆre.
Its somewhat ironic that a movie about time travel canât be reviewed
properly until your future self rewatches the movie.
Itâs bold of Nolan to make such a thoroughly dense blockbuster. He assumes
people will actually want to see fULL mOVIE more than once so they can
understand it properly, which some may not. This movie makes the chronology
of Inception look as simplistic as tic-tac-toe.
Ergo, itâs hard for me to give an accurate rating, without having seen it
twice, as Iâm still trying to figure out whether everything does indeed make
sense. If it does, this movie is easily a 9 or 10. If it doesnât, itâs a
6.
Itâs further not helped by the fact that the dialogue in the first 15
minutes of the movie is painfully hard to understand / hear.
Either they were behind masks; they were practically mumbling; the sound
effects were too loud; or all of the above. The exposition scenes are also
waayyy too brief for something this complex â a problem also shared with fULL
mOVIE actually.
(fULL mOVIE had this minimalist exposition problem explaining Blight, where
if you werenât careful, youâd miss this one sentence / scene in the entire
movie explaining that Blight was a viral bacteria:
âEarthâs atmosphere is 80% nitrogen, we donât even breathe nitrogen. Blight
does, and as it thrives, our air gets less and less oxygenâ).
I guess itâs a Nolan quirk. Hopefully, a revision of the film audio sorts
the sound mixing out. I do like the soundtrack, but itâs too loud
initially.
I liked all the actors. You think John Washington canât act at first, but
he can, and he grows on you as the film progresses. And Pattinson is his
usual charming self. Elizabeth is a surprise treat. And so on.
Its worth a watch either way. See it with subtitles if you can. And
definitely donât expect to fully understand whats going on the first time
around.
Its one hell of a complicated film. It will be very hard for an average
viewer to gather all the information provided by this movie at the first
watch. But the more you watch it, more hidden elements will come to light.
And when you are able to put these hidden elements together. You will realize
that this movie is just a âmasterpieceâ which takes the legacy of Christopher
Nolan Forward
If I talk about acting, Then I have to say that Robert Pattinson has really
proved himself as a very good actor in these recent years.
And I am sure his acting skills will increase with time. His performance is
charming and very smooth. Whenever he is on the camera, he steals the focus
John David Washington is also fantastic in this movie. His performance is
electrifying, I hope to see more from him in the future. Other characters
such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence
Poésy have also done quite well. And I dont think there is a need to talk
about Michael Caine
Talking about Music, its awesome. I dont think you will miss Hans Zimmerâs
score. Ludwig has done a sufficient job. There is no lack of good score in
the movie
Gotta love the editing and post production which has been put into this
movie.
I think its fair to say this Nolan film has focused more in its post
production. The main problem in the movie is the sound mixing. Plot is
already complex and some dialogues are very soft due to the high music score.
It makes it harder to realize what is going on in the movie. Other Nolan
movies had loud BGM too. But Audio and dialogues werenât a problem
My humble request to everyone is to please let the movie sink in your
thoughts. Let your mind grasp all the elements of this movie. I am sure more people
will find it better. Even those who think they got the plot. I can bet they
are wrong.
fULL mOVIE is the long awaited new movie from Christopher Nolan. The movie
thatâs set to reboot the multiplexes post-Covid. Itâs a manic, extremely
loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot
of Nolan fan-boys but which left me with very mixed views.
John David Washington (Denzelâs lad) plays âThe Protagonistâ â a crack-CIA
field operative who is an unstoppable one-man army in the style of Hobbs or
Shaw.
Recruited into an even more shadowy organisation, heâs on the trail of an
international arms dealer, Andrei Sator (Kenneth Branagh in full villain
mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over
custody of their son (and the film unusually has a BBFC warning about
âDomestic Abuseâ). Our hero jets the world to try to prevent a very
particular kind of Armageddon while also keeping the vulnerable and
attractive Kat alive.
This is cinema at its biggest and boldest.
Nolan has taken a cinema âsplurgeâ gun, filled it with money, set it on
rapid fire, removed the safety and let rip at the screen. Given that Nolan is
famous for doing all of his âeffectsâ for real and âin cameraâ, some of what
you see performed is almost unbelievable. You thought crashing a train
through rush-hour traffic in âInceptionâ was crazy? You ainât seen nothing
yet with the airport scene! And for lovers of Chinooks (I must admit I am one
and rush out of the house to see one if I hear it coming!) there is
positively Chinook-p*rn on offer in the filmâs ridiculously huge
finale.
The âinversionâ aspects of the story also lends itself to some fight scenes
â one in particular in an airport âfreeportâ â which are both bizarre to
watch and, I imagine, technically extremely challenging to pull off. In this
regard John David Washington is an acrobatic and talented stunt performer in
his own right, and must have trained for months for this role.
Nolanâs crew also certainly racked up their air miles pre-lockdown, since
the locations range far and wide across the world. The locations encompassed
Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United
States. Hoyte Van Hoytemaâs cinematography is lush in introducing these,
especially the beautiful Italian coast scenes. Although I did miss the David
Arnold strings that would typically introduce these in a Bond movie: it felt
like that was missing.
The âtimey-wimeyâ aspects of the plot are also intriguing and very cleverly
done.
There are numerous points at which you think âOh, thatâs a sloppy
continuity errorâ or âShame the production design team missed that cracked
wing mirrorâ. Then later in the movie, you get at least a dozen âAha!â
moments. Some of them (no spoilers) are jaw-droppingly spectacular.
Perhaps the best twist is hidden in the final line of the movie. I only
processed it on the way home.
And so to the first of my significant gripes with Black Box. The sound mix
in the movie is all over the place. Iâd go stronger than that⊠itâs truly
awful (expletive deleted)! Nolan often implements Shakespeareâs trick of
having characters in the play provide exposition of the plot to aid comprehension.
But unfortunately, all of this exposition dialogue was largely
incomprehensible. This was due to:
the ear-splitting volume of the sound: ââââ&f2&ââââ movie audiences
are going to be suffering from âBlack Boxisâ! (LOL);
the dialogue is poorly mixed with the thumping music by Ludwig Göransson
(Wot? No Hans Zimmer?);
a large proportion of the dialogue was through masks of varying description
(#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to
my ears.
Overall, watching this with subtitles at a special showing might be
advisable!
OK, so I only have a PhD in Physics⊠but at times I was completely lost as
to the intricacies of the plot. It made âInceptionâ look like âThe Tiger Who
Came to Teaâ. There was an obvious âMcGuffinâ in âInceptionâ â â (âThese
âdream levelsâ⊠how exactly are they architected??ââŠ. âDonât worry⊠theyâll
never noticeâ. And we didnât!) In âBlack Boxâ there are McGuffins nested in
McGuffins. So much of this is casually waved away as âfuture stuff⊠youâre
not qualifiedâ that it feels vaguely condescending to the audience. At one
point Sator says to Kat âYou donât know whatâs going on, do you?â and she
shakes her head blankly. Weâre right with you there luv!
There are also gaps in the storyline that jar. The word âBlack Boxâ? What
does it mean. Is it just a password? Iâm none the wiser.
The manic pace of fULL mOVIE and the constant din means that the movie
gallops along like a series of disconnected (albeit brilliant) action set
pieces. For me, it has none of the emotional heart of the Cobbâs marriage
problems from âInceptionâ or the father/daughter separation of âBlack Boxâ.
In fact, you barely care for anyone in the movie, perhaps with the exception
of Kat.
Itâs a talented cast. As mentioned above, John David Washington is muscular
and athletic in the role.
Itâs a big load for the actor to carry in such a tent-pole movie, given his
only significant starring role before was in the excellent BlacKkKlansman.
But he carries it off well. A worthy successor to Gerard Butler and Jason
Statham for action roles in the next 10 years.
This is also a great performance by Robert Pattinson, in his most
high-profile film in a long time, playing the vaguely alcoholic and
CarrĂ©-esque support guy. Pattinsonâs Potter co-star Clemence PoĂ©sy also pops
up â rather more un-glam that usual â as the scientist plot-expositor early
in the movie.
Nolanâs regular Michael Caine also pops up.
although the 87-year old legend is starting to show his age: His speech was
obviously affected at the time of filming (though nice try Mr Nolan in trying
to disguise that with a mouth full of food!). But in my book, any amount of
Caine in a movie is a plus. He also gets to deliver the best killer line in
the film about snobbery!
However, itâs Kenneth Branagh and Elizabeth Debicki that really stand out.
They were both fabulous, especially when they were bouncing off each other in
their marital battle royale.
So, given this was my most anticipated movie of the year, itâs a bit of a
curateâs egg for me. A mixture of being awe-struck at times and slightly
disappointed at others. Itâs a movie which needs a second watch, so Iâm
heading back today to give my ear drums another bashing! And this is one
where I reserve the right to revisit my rating after that second watch⊠itâs
not likely to go down⊠but it might go up.
(For the full graphical review, check out One Mannâs Movies on tâinterweb
and Facebook. Thanks.)
As this will be non-spoiler, I canât say too much about the story. However,
what I can is this: Black Boxâs story is quite dynamic in the sense that you
wonât understand it till it wants you to. So, for the first half, your brain
is fighting for hints and pieces to puzzle together the story. It isnât until
halfway through the movie that fULL mOVIE invites you to the fantastic
storytelling by Christopher Nolan.
Acting is beyond phenomenal, and Iâd be genuinely surprised if neither
Robert Pattinson nor John David Washington doesnât receive an Oscar
nomination for best actor. Itâs also hard not to mention how good Elizabeth
Debicki and Aaron Johnson both are. All around, great acting, and the
dialogue amps up the quality of the movie.
The idea of this movie is damn fascinating, and while there are films that
explore time-travelling, thereâs never been anything quite like this.
It has such a beautiful charm and for the most part, explains everything
thoroughly. It feels so much more complex than any form of time-travelling
weâve seen, and no less couldâve been expected from Nolan.
Oh my lord, the score for this film fits so perfectly. Every scene thatâs
meant to feel intense was amped by a hundred because of how good the score
was. Let me just say though, none of them will be found iconic, but they fit
the story and scenes so well.
In the end, I walked out, feeling very satisfied. Nevertheless, I do have
issues with the film that I cannot really express without spoiling bits of
the story. There are definitely little inconsistencies that I found myself
uncovering as the story progressed. However, I only had one issue that I
found impacted my enjoyment. That issue was understanding some of the
dialogue. No, not in the sense that the movie is too complicated, but more
that it was hard to make out was being said at times. It felt like the movie
required subtitles, but that probably was because, at a time in the film,
there was far too much exposition.
Nevertheless, I loved this film, Iâll be watching it at least two more
times, and I think most of you in this group will enjoy it. I definitely
suggest watching it in theatres if possible, just so you can get that
excitement.
(4/5) & (8.5/10) for those that care about number scores.
At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU
DID THIS? Seriously I want to have an answer, How did he write such as this
masterpiece! How did he get this complicated, fabulous and creative idea?
What is going on in his mind? The story is written and directed perfectly,
the narration style was absolutely unique. I have no idea how can anyone
direct such as this story, that was a huge challenge, and as usual Nolan gave
us a masterpiece that weâll put beside (Memento), (Inception) and (Black Box)
The movie is so fast-paced in a good way, there was no boring moment. The
chemistry between John David Washington and Robert Pattinson was great and
funny and both of their performance was really good. Elizabeth Debicki
performance was the best in the movie because she had the chance to show her
acting abilities and she cached up that chance and showed us an A level
acting.
The music wasnât unique and distinct as the music of fULL mOVIE for example
and I think this movie needed the touch of Hans Zimmer, Iâm not saying that
Ludwig Göransson failed but Hans Zimmer in another level.
If there was something Iâd say that I didnât like it in the movie would it
be that Nolan discarded any set up or characters backgrounds except Elizabeth
Debicki dramatic story but it wasnât that bad for me, I didnât care about
that, the exciting story didnât give me the chance to focus on it. But the
actual problem was the third act, it was really complicated and I got lost
and I convinced myself to discard the questions that were in my head and
enjoy the well-made action sequences and Elizabeth Debicki performance.
I think this kind of movie that gets better with a second and third
watch.
I honestly donât quite know where to begin with Black Box. I love
Christopher Nolanâs work but I have never seen a more complicated film (and I
understood Memento). After nearly three hours, I came away from fULL mOVIE
not knowing myself, my mind reduced to nothing more than piles of ash.
Was there time travel involved? Hmm, there was definitely something about
time inversion.
I mean, does Nolan even understand what he wrote? Look, I give credit to the
director because heâs one of the few directors left who knows how to create a
compelling and intelligent blockbuster. fULL mOVIE is full of Nolan
trademarks â the gratuitous Michael Caine cameo, a loud, really loud score,
complete with stunning cinematography and slickly inventive action
set-pieces.
This time around however, Nolan has finally managed to âout-Nolanâ himself:
the palindromic plot, whilst creatively ambitious, is simply far too
complicated for its own good. fULL mOVIE is overlong, overstuffed,
pretentious and too exhausting to comprehend in its entirety â it makes
Inception and fULL mOVIE look like Peppa Pig by comparison.
Iâm aware of the technical wizardry and creative mastery in this film and
lord knows Iâll have to watch this again. For those who want a puzzle, fULL
mOVIE at least provides a unique cinematic experience. But to actually enjoy
solving it Nolan wants you to work very very hard."