Movies Review

Nuestra huella en el mundo ha traspasado todas las fronteras, no hay ni un solo continente que no haya sido poblado por nosotros los seres humanos, hemos logrado cambiar casi todas las cosas de la tierra, la hemos adaptado a nuestro parecer, tierra, mares, aires, prácticamente todo, en gran parte muchos de los cambios han sido egoístas y por conveniencia propia, como las represas de ríos, grandes caudales de agua retenidos a conveniencia. El mundo sin seres humanos en un principio representaría caos de vuelos y aparatos funcionando sin control por doquier, poco a poco se el paneta se va quedando sin energía debido a que no hay quien opere las centrales eléctricas o las platas de energía se menciona en el documental vuelve la era de la oscuridad. Con 3 días sin seres humanos el mundo se encuentra plagado de gases tóxicos por doquier, incendios y casos en todas partes, los animales dementicos y de zoológico comienzan a morir de hambre debido a que no hay nadie que los alimente o escapan en busca de alimentos considerando incluso comerse entre sí. Con tres meses sin seres humanos la radioactividad ya ha caído del cielo y en panorama comienza a mejorar como sin embargo la lluvia escasea debido a la baja polución producida, los animales sobrevivientes son cada vez más salvajes y continúan matándose entre sí, a los 6 meses con el cambio de clima los animales comienzan a morir de frío.

Based on real-life experiences of director Destin Cretton during his work at a residential care facility, the movie Short Term 12 assimilates the lives of a group of troubled teenagers and their caregivers, who through their own personal narratives, reveal a commonality in human experience. Without a definitive protagonist, the movie revolves around Grace, a young group-home employee, her co-workers, and the at-risk teens under their care.
The film begins with a conversation between caregivers at the eponymous facility Short Term 12. Mason, a caregiver, is narrating to Nate, a caregiver on his first day of work at the facility, a rather challenging experience he had with a child who ran away on his first day. The conversation is joined by colleagues Grace and Jessica. He shares that he was on gate duty, a position assigned to talk children out of leaving due to a legal right that permitted children to leave the facility if they wished. Before the story concludes, suddenly, a child named Sammy runs out of the facility
hysterically towards the gate, whom the caregivers rush to catch hold of. When caught, he abuses them maliciously for some time, trying to be free of their grasps, when Grace reassures him that it was okay and that he just needed to get it out of his system. He continues abusing them for a while and eventually calms down. Nate was stunned by the experience, something that was rather normal at the facility, brought out by Mason acknowledging to the group that Sammy got quite far this time. This is one among the many scenes in the film that reflects on the challenges of caring for children and youth with trauma, and the exceptional skills required for
such a role.
The caregivers move in to the facility and Grace, along with handing over some induction forms to Nate, clarifies the nature of his role stating “Remember, you are not their parent or their therapist; you are here to create a safe environment, that is it.” While she thus highlights the boundaries of their role as caregivers, as the film progresses, it becomes evident that for caregivers whose priority is the welfare of

This review was written for Hawaiian Pacific University's "Film Series", February 10, 2006. In Osama, Siddiq Barmak shows you his native country through the eyes of a young girl whose right to education is denied by misguided clerics who also rob her of her childhood.

La comunión y sincronía de Zac Efron que tiene con Lily Collins en la película Ted Bundy: Durmiendo con el asesino logra un brillante trabajo en un film que intenta explorar el contexto que rodeaba al asesino más famoso, carismático y sanguinario de la historia.

La cinta dirigida por Joe Berlinger y escrita por Michael Werwie con Zac Efron y Lilly Collins en los papeles principales, narra la historia de Ted Bundy el asesino serial más famoso de los estados unidos relatado desde el punto de vista de su novia, Elizabeth Koepfer.

Room is a story about a mother and his boy who were living in a small space called ‘’room’’ for years. Jack and his mother Joy ,who are held hostage in a shed by a man who kidnapped Joy when she was a teenager. This condition is an exact match to definition of psychological trauma that is feeling of fear, helplessness, loss of control of extinction as an overwhelming experience.

Luke was first introduced in 1977’s Star Wars, as living on the desert planet of Tatooine, working as a moisture farmer. Star Wars – Episode VIII – The Last Jedi’s depiction of Luke Skywalker is contradictive, and it fails to acknowledge it is a place in a larger story.

Brian De Palma, partially discusses the colonization of women's rights by neoliberalism, the problems with women's sexual liberation in Carrie (1976). There are two sides which had been processed in the movie, the unified girls and the other, Carrie. While both sides are victims of the patriarchal ideology, they fight with each other, because both sides remind one another of the obnoxious feelings they have about themselves. Carrie

11 books (free access to full PDF texts):
Media Literacy Education and Film and Media Studies


Media and Information Literacy Education Dictionary:
https://www.researchgate.net/publication/311675000_Media_and_Information_Literacy_Education_Dictionary

Media Literacy Education:
https://www.researchgate.net/publication/267623006_FEDOROV_A_MEDIA_LITERACY_EDUCATION_MOSCOW_ICO_INFORMATION_FOR_ALL_2015_577_P?ev=prf_pub

On Media Education:
https://www.researchgate.net/publication/260230477_On_Media_Education

Violence on the Russian & American Media Screen and Youth Audience:
https://www.researchgate.net/publication/260230555_Violence_on_the_Russian_American_Media_Screen_and_Youth_Audience

Film Criticism:
https://www.researchgate.net/publication/277009139_FEDOROV_A_FILM_CRITICISM_MOSCOW_ICO_INFORMATION_FOR_ALL_2015_382_P

Film studies in the university students' audience: from entertainment genres to art house:
https://www.researchgate.net/publication/271155569_FILM_STUDIES_IN_THE_UNIVERSITY_STUDENTS%27_AUDIENCE_FROM_ENTERTAINMENT_GENRES_TO_ART_HOUSE

Western World in the Soviet and Russian Screen: From Epoch of Ideological Confrontation (1946-1991) to Modern Time (1992-2016): https://www.researchgate.net/publication/307587864_Western_World_in_the_Soviet_and_Russian_Screen_From_Epoch_of_Ideological_Confrontation_1946-1991_to_Modern_Time_1992-2016?ev=prf_pub

The White Movement Image in the Mirror of the Russian and Western Screen:
https://www.researchgate.net/publication/305441604_THE_WHITE_MOVEMENT_IMAGE_IN_THE_MIRROR_OF_THE_RUSSIAN_AND_WESTERN_SCREEN?ev=prf_pub

Reflections: West about Russia / Russia about West. Film images of people and countries:
https://www.researchgate.net/publication/307905692_Reflections_West_about_Russia_Russia_about_West_Film_images_of_people_and_countries?ev=prf_pub

Cinema in the Mirror of the Soviet and Russian Film Criticism:
https://www.researchgate.net/publication/311953725_Cinema_in_the_Mirror_of_the_Soviet_and_Russian_Film_Criticism

Russia in the mirror of the Western screen:
https://www.researchgate.net/publication/269992854_RUSSIA_IN_THE_MIRROR_OF_THE_WESTERN_SCREEN

Genteel poverty is sad. Memories of better times, the harrowing struggle to keep up appearances, fading power and influence, dwindling finances unable to support posh lifestyles, diminishing prestige, and, more than anything else, the unwillingness, if not the inability, to come to terms with changing tides of fortune converge to make it truly tragic. It is, perhaps, more painful than abject poverty

Crazy Rich Asians is sentimental. It celebrates luxury, wealth and extravagance, unabashedly. It tries to manipulate the emotions of audiences. It is loud, dishy and extravagant. It has problems of structure, setup and pacing. And it tells a story that is as hackneyed as it is enduring. In spite of the shortcomings, Jon M. Chu's romantic comedy succeeds at being an engaging and entertaining movie, largely because of its warm, pulsating heart and Chu's superior storytelling style tells the story. Crazy Rich Asians deals with love, friendship, family, wealth, upward mobility, duty, familial responsibility, class conflict, and honor, 2 and packs a lot -a whole lot, actually, but not as much as its source material, Kevin Kwan's novel of the same title -in its exuberant, effervescent two hours; yet it leaves audiences hungry for more, such being its many pleasures. They may be voyeuristic, exuberant and light-hearted but are genuine pleasures, nonetheless. Rachel Chu (Constance Wu), a Chinese-American professor of economics at the New York University, is a successful and independent young lady, raised by an immigrant working-class single mother, Kerry Chu (Tan Kheng Hua). She has been dating a handsome young Singaporean, Nick Young (Henry Golding), for over a year and agrees to take a trip to Singapore with him to attend the wedding of Nick's childhood friend Colin Khoo (Chris Pang) and Araminta Lee (Sonoya Mizuno). Nick wishes to introduce Rachel to his family and friends, the titular characters of the movie, his domineering mother Eleanor Young (Michelle Yeoh), and his imperious grandmother, Ah Ma (Lisa Lu). Rachel does not know her boyfriend is the sole heir to an unfathomably large business empire in Singapore and the island's most eligible bachelor. She is unaware of his plans to propose to her during the trip. More importantly, she has no idea that she will be the focus of intense attention, suspicion and scrutiny in the country and become an able, if unwilling, participant in a clash between old wealth and new money, following one's heart and fulfilling familial duty, and tradition and individualism. In the days that follow, Rachel will be forced to navigate her way through the unfamiliar world of her beau, making allies and enemies in the process, while conducting herself with unflinching integrity, dignity and strength. 3 The story of Crazy Rich Asians is neither new nor novel. The movie works because it has well-constructed characters, several truly amazing performances, a great score by Brian Tyler, excellent production design by Nelson Coates, and wonderful dialogs. The movie's biggest strength, however, is the nature and power dynamic of its central relationship. Nick and Rachel are in love with each other; they are genuinely concerned about each other's comfort, happiness and well-being; the two understand and possess the wherewithal to fight the forces that separate them; and, although Nick is rich and powerful, Rachel is the one who holds the power in the relationship. She has complete agency over her life and decisions and, in the end, does not make Nick chose between her and his family. Instead, she chooses to do what she believes is right, honorable and best for her and Nick. Crazy Rich Asians is an important film. In a world where only four of the topgrossing films of 2017 featured Asian protagonists, it is a major Hollywood film in 4 that tells an Asian-American story, inhabited by Asian and America-Asian characters, written and directed by an Asian-Americans, and featuring a cast that is almost exclusively Asian and American-Asian actors. The movie, which made more than thirty-five million dollars in its first four days [1] , may well represent a watershed moment for Asian-Americans in Hollywood. The film has transcended its target demographic of Asian-Americans, played successfully to broader audiences all over the world, and received rave reviews from critics and viewers. It has all but guaranteed better representation and greater opportunities for Asian and Asian-American actors in major studio films going forward. It will prove to be a landmark film in the history of Hollywood. Before Kevin Kwan's novel came out in 2013, a Hollywood producer offered to option the book for a large sum, under the condition that he change Rachel to a white girl. Kwan did not want to compromise on the integrity of his story and turned down the offer. "It was a very quick conversation that I shut down," [2] he 5 recalls. The Singaporean-American waited for the right team, eventually selling the book to production companies Color Force and Ivanhoe Pictures for one dollar. Kwan did not want the producers to spend the money on the book. He wanted it to be used to hire "a great screenwriter [who would] really adapt my book rather than to pay me some stupid option fee." [3] Kwan made the right choice. Director Jon M. Chu and writers Peter Chiarelli and Adele Lim have done justice to his book and packaged the sprawling 544-page novel -replete with a huge panoply of interesting characters, abundant subplots, numerous diversions, and frequent tangents, not to mention copious footnotes and elaborate genealogical charts -into a neat, smart film that is more intelligent, powerful and nuanced that Kwan's novel. Unlike the book, the movie does not satirize the culture of excess and, unlike traditional Hollywood, it does not celebrate it.

The normative sexuality themed movies are more popular and it tends to be houseful than some non-normal sexuality movies in Indian cinemas, where country is in a state of "half-modernized". But looking at the current situation in western world, where these abnormal (gay and lesbian) has been voicing for their liberations,

“Blade Runner 2049” movie is a sequel to the movie released in 1982 “Blade Runner 2019”. The movie is released on October 07 2017. The main plot of this movie continues backing the first one. This is a neo-noir genre science fiction film which presents the conflicts between human and replicants by raising the question to its viewers who are more human?

'Eraserhead' (1977), directed by David Lynch, has intrigued and interested film critics for decades. A cinematic puzzle, David Lynch successfully creates a surreal and dystopian world through Eraserhead. With its twisted plotline and ambiguous subject matter, very few cinema enthusiasts have successfully maneuvered through the movie's diegesis. Lynch, who is largely considered the best postmodern filmmaker of all time, manages to create a reel enigma through 'Eraserhead'. This paper makes a dedicated attempt at deconstructing the movie using the auteur and psychoanalytical film theories. It also finds out the ingrained themes used by Lynch in designing the nightmarish and hallucinatory world of 'Eraserhead'. In doing so, the paper critically dissects all the cinematic elements used by the auteur. There is also an ingrained objective to highlight the psyche of the director in making this cinematic quagmire.

“David Lynch’s “Lost Highway” is like kissing a mirror: You like what you see, but it’s not much fun, and kind of cold” (Ebert, 1997). Albeit disappointing, that is exactly how renowned film critic Roger Ebert describes ‘Lost Highway’ (1997). All said and done, the fact remains that one might love the movie, one might hate the movie as well, but there is very little possibility that one will ignore the movie after watching it. Call it a crazy ride, call it a symphonic mixture of dreams and reality, call it a cryptic stream of consciousness on celluloid or simply call it a bad film; ‘Lost Highway’ will invariably twist your brain and you shall never be the same again. This paper would look carefully at the cinematic text of ‘Lost Highway’ and try to find out if there is a method in the ingrained madness. While David Lynch never really bothers about how the audience might react to his movies, there is very little doubt about his obvious qualities as one of the most influential filmmakers of all time. ‘Lost Highway’ could be analyzed over and over again and one still cannot be sure about what it tries to convey. Instead of trying to find out a definite explainer, this paper tries to plug that very gap and argues that meaning is not what the movie intends to concoct.

Reviewed by ZEYNEP KURTULUŞ KORKMAN Clair obscur is a film about the unlikely encounter of two women otherwise separated by class, education, and location. Elmas has little formal education and lives in a provincial town with her husband and mother-in-law. Şehnaz is a highly educated urbanite living with her boyfriend in Istanbul and commuting to a provincial hospital to complete her mandatory medical residency as a psychiatrist. Their lives unexpectedly intersect at the hospital when Elmas is placed under Şehnaz's care as a catatonic patient and criminal suspect. Elmas's husband and mother-in-law died under vague circumstances on the same stormy night. The prominent film writer and director Yeşim Ustaoğlu uses this encounter to stage a panorama of femininities in Turkey. In times of reactionary gender conservatism and violent quests for masculinist restoration, Clair obscur explores feminist issues like domestic violence, marital rape, the education of girls, and underage marriage. Instead of creating villains, Ustaoğlu deploys nuanced characters and an intense atmosphere to give a sense of the larger social constraints shaping the lives of Elmas and Şehnaz. As the story progresses, it reveals sexual sources of repression in the women's apparently dissimilar lives. Şehnaz has a boyfriend who cooks, and she has money for shopping, is unburdened with domestic work, and confidently mingles with men in public. Nevertheless , her partner is not attentive to her sexual needs. Elmas is more restrained in public, had cared for her husband and sick mother-in-law, and lacks economic autonomy. Most troubling is that her husband routinely raped her. Clair obscur is squarely in the tradition of second-wave feminism in Turkey, which criticizes versions of (Kemalist) feminism that construct a misleading dichotomy of urban, educated, secular, emancipated women and their rural, ignorant, subjugated sisters, instead emphasizing commonalities of women's oppression. The film's valuable emphasis on shared sexual oppression nevertheless misses some of the lessons of third-wave feminism that seriously acknowledge class, ethnicity, JMEWS • Journal of Middle East Women's Studies •

Esta es una película que causó muchísimo impacto en el área y espacio audiovisual, fue la iniciación a este nuevo modo de" LIVE ACCION", a partir de ahí se generó una nueva mañana de transmitir las historias. Me tome la tarea de investigar un poco más en sobre esta interesante película y me encontré con una larga lista de premios que esta tiene, de increíbles academias, además, por mencionar algunos diría El oscar, Gloden Globe, Empire, Teen Choice Award entre muchísimos más, y no es para menos, esta película recaudó 270 millones de dólares en carteleras lo cual a hasta la fecha es la segunda película que más fortuna ha generado siendo apenas superada el año pasado en 2019 por Marvel. Entrado un poco más en el ámbito de la película como tal, este proyecto cuenta una historia bastante surreal y diferente, nos muestra una realidad alterna en la que el ser humano busca otro planeta para estudiarlo pero principalmente con la intención de buscar las riquezas de este, como lo hacemos actualmente con la tierra, destruirla poco a poco mientras sacamos las riquezas minerales. Este es el planeta Pandora donde habita una tribu llamada Navi quienes tienen una gran conexión con si ecosistema que además me gustaría mencionar es impresionante (teniendo en cuenta que es ficción). Los Navi protegen a toda costa su planeta de los seres humanos, porque no confían en estos, ya que estos se han

I enjoy watching movies, as well as critiquing them. The movie I chose for this review is a multi-awarded adventure-drama film: The Life of Pi. Based on the novel written by Yann Martel, the movie follows “Pi” Patel, an Indian teenager, who is the lone survivor of a shipwreck trying to survive adrift in the Pacific Ocean (but he is accompanied by a Bengal Tiger). In the novel, Martel discusses themes of religion and spirituality through Pi’s exposure to Christianity, Islam, and Hinduism at an early age. He said in the interview that the book can be summarized in three statements “Life is a story"; "You can choose your story"; "A story with God is the better story" (Renton, 2013). These themes are reflected in the movie, as I will argue that: Unlike in other mainstream movies, The Life of Pi is a strong film that shows its audience how one’s faith in the divine is significant towards perseverance.

City of Paris and its two different interpretions in La Haine and Midnight in Paris

When big cities emerged and people started to establish their own value and norm according to their new environments, cities started to have their own identity and became a part of people’s life. Therefore, to understand people, understanding of cities became a key part of this activity. Nowadays, lots of people in the world are living in modern cities. And no doubts to say that, movies are one of the most effective devices to read a city and also way of people live. Throughout this paper we will try to understand how one modern city has been represented visually in movie-making process. These two films are: Woody Allen’s Midnight in Paris (2011) and Mathieu Kassovitz’s La Haine (1995).