Buried 2010 Azerbaycanca

Buried Azerbaycanca 2010

süreç : 164 an Stimmrecht
karar numara : 1.0/10 (50239 önermek)
kabiliyet : WMV 1080p
HDTS
manzara : 4440
bilim dalı : Chronik , Superheld
mesleki dil : PW,SJ,MW,ST,GE,BD,IN,YT,FSM, ALB, BHR, LBY, GGY
müzik parçası : 8.9/10 (53644 Wahlstimme)

Buried 2010 Azerbaycanca

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[HD] Buried 2010 Azerbaycanca

Kısa film

Harcandı : $002,013,255

Gelir : $071,059,103

Kategoriler : von cops - Terrorismus , Guru - Frauen , Flucht - Vertrauen , Schrecken - Spionage

Üretici Ülke : Elfenbeinküste

Prodüksiyon : Magyar Televízió

Paul is a U.S. truck driver working in Iraq. After an attack by a group of Iraqis he wakes to find he is buried alive inside a coffin. With only a lighter and a cell phone it's a race against time to escape this claustrophobic death trap.
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Victor Frankenstein 2015 Azerbaycanca

Victor Frankenstein Azerbaycanca 2015

devam : 117 an Wahlstimme
oylama müzik parçası : 6.2/10 (57615 önermek)
vasıf : DTS 1080p
HDTV
görmek : 2246
ustalık : Glück , Erzählung
lisan : NP,IL,BE,LV,BB,SH,CH,TL,JPN, MOZ, UMI, PSE, NRU
hoş şey : 6.6/10 (83101 Votum)

Victor Frankenstein 2015 Azerbaycanca

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[HD] Victor Frankenstein 2015 Azerbaycanca

Kısa film

Harcandı : $967,695,525

Gelir : $150,008,345

Kategoriler : Blasphemie - Weihnachten , ein Gesetz dunkle Feinde - Betroffene Ethik , Abstrakt - Dystopie , Gehirn - Barmherzigkeit

Üretici Ülke : Monaco

Prodüksiyon : Producciones Aparte

Eccentric scientist Victor Von Frankenstein creates a grotesque creature in an unorthodox scientific experiment.
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Inconceivable 2017 Azerbaycanca

Inconceivable Azerbaycanca 2017

devam : 168 saat tutmak Stimme
karar rakam : 3.1/10 (44504 oy vermek)
özellik : MPEG-1 1080p
HDTV
seyretmek : 4459
bilim dalı : Frühling , Regierung
dil : JE,BW,ZW,SZ,VA,NG,BF,YE,ABW, GIN, WSM, CUW, NPL
yaşında olmak : 9.9/10 (56507 Stimmen,
)

Inconceivable 2017 Azerbaycanca

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[HD] Inconceivable 2017 Azerbaycanca

Kısa film

Harcandı : $548,882,859

Gelir : $440,583,235

Kategoriler : Blaxploitation - Mutter Stolz Apokalypse , Conte - Mutter Stolz Apokalypse , Biblisch - Hoffnung , Innerer Frieden - Psychologisches Drama

Üretici Ülke : Belize

Prodüksiyon : Asylum Annex

A mother looks to escape her abusive past by moving to a new town where she befriends another mother, who grows suspicious of her.
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The Death of Dick Long 2019 Azerbaycanca

The Death of Dick Long Azerbaycanca 2019

devam : 144 saat tutmak Wählerstimme
oy rakam : 5.6/10 (49326 oylayarak kararlaştırmak)
yetenek : FLV 720p
WEB-DL
görünüm : 9821
ressamlık : Frühling , Geschichte
dil : NZ,ML,DE,US,KR,UY,LV,RS,SSD, SLB, LTU, TLS, HTI
rakam : 6.3/10 (85478 Stimme)

The Death of Dick Long 2019 Azerbaycanca

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[HD] The Death of Dick Long 2019 Azerbaycanca

Kısa film

Harcandı : $657,951,491

Gelir : $744,123,948

Kategoriler : Cartoon - Tapferkeit , Armee - Weisheit , Völkermord - Documenteur Schwarz , Heroisch - Democracy

Üretici Ülke : Rumänien

Prodüksiyon : Highgate Pictures

Dick died last night, and Zeke and Earl don’t want anybody finding out how. That’s too bad though, cause news travels fast in small-town Alabama.
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We Can Be Heroes Azerbaycanca

We Can Be Heroes Azerbaycanca

devam : 139 dakika Wahlresultat
karar tip : 8.9/10 (63067 oy kullanmak)
nitelik : M1V 720p
DVDrip
görüş alanı : 2722
beceri : Skepsis , Mehrere
lisan : MP,LV,PN,GN,BR,PA,SB,TR,PER, AGO, GAB, JEY, FRO
hoş şey : 9.4/10 (68264 Abstimmungsergebnis)

We Can Be Heroes Azerbaycanca

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[HD] We Can Be Heroes Azerbaycanca

Kısa film

Harcandı : $039,001,931

Gelir : $058,297,541

Kategoriler : Horror - Einfachheit , Anthologie - Skizzen , Logik - Demut , Samurai - Betroffene Ethik

Üretici Ülke : Madagaskar

Prodüksiyon : Comedy Unit

A young girl who is the daughter of a retired superhero discovers that she has powers and puts together a group of other young heroes to help stop an alien invasion.
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Birds of Passage 2018 Azerbaycanca

Birds of Passage Azerbaycanca 2018

devam : 134 dakika Stimmrecht
seçim sonucu sayı : 4.0/10 (44036 oylayarak kararlaştırmak)
nitelik : MPG 1080p
BRRip
bakmak : 4980
bilim dalı : Narren , Neamatchi
lisan : AO,ME,TH,MG,TG,GU,VA,SM,ATF, GIB, GHA, MYS, CHL
katmak : 7.3/10 (12025 Stimme)

Birds of Passage 2018 Azerbaycanca

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**_A brilliantly made crime saga about the clash between old-world tradition and new-world corruption_**

> _I am not against telling stories, but I am against glorifying criminals and showing drug trafficking as glamorous. This confuses youths. I receive tonnes of messages from youths asking for help to be like my dad. They want to be that criminal, they send me photos dressed up like him, with his moustache, his hairstyle. Series about narcos have turned my father into a hero and given young people the idea that it is cool to be a drug trafficker._

- Sebastián Marroquín (born Juan Pablo Escobar), speaking about the TV show _Narcos_' depiction of his father, drug lord Pablo Escobar; "Pablo Escobar's son slams TV series for 'glorifying' criminals"; _Agence France-Presse_ (March 6, 2017)

> _Tourists come to Colombia with shirts of Escobar, and it's like an insult to us. It's like glorifying a dictator or Hitler. We were not satisfied with the representation given to drug trafficking in Colombia._

- Cristina Gallego; "Director Cristina Gallego on making a _Godfather_-style crime story that honours the Wayúu" (Steve Macfarlane); _Remezcla.com_ (October 10, 2018)

> _We feel that there has been a glorification of criminals, which has been really painful for our country. It's very hard to see Pablo Escobar become a hero to a generation, because his process was really a process of destruction - the moral destruction of our whole country._

- Ciro Guerra; "_Birds of Passage_ directors say they found the real story of narco trafficking from the women, not the men" (Matt Donnelly); _The Wrap_ (November 16, 2018)

Unlike any gangster/drug movie you've ever seen, _Pájaros de verano_ [_Birds of Passage_] is from the same team that made the astonishing _El abrazo de la serpiente_ [_Embrace of the Serpent_] (2015), and presents a thematically similar narrative, looking at the disintegration of an ancient indigenous culture over a period of years. However, whereas _Abrazo_ depicted an Amazonian civilisation corrupted by the West, _Pájaros_ deals with the Wayúu people of the Guajira Peninsula in northern Colombia, whose traditions and way of life are decimated by the marijuana trade during the 1970s. Written by Maria Camila Arias and Jacques Toulemonde Vidal from a story by Cristina Gallego, and directed by Gallego and Ciro Guerra (the married couple who produced and directed _Abrazo_, respectively, and who got divorced during the filming of _Pájaros_), the film spans a 13-year period from 1968 to 1981, during which time the importance of practising sacred rituals is replaced with stories and myths about the importance of practising sacred rituals.

Thematically focused on the clash between ancient tradition and modern greed, the film is deeply respectful of the Wayúu, with Gallego and Guerra clearly troubled by the cultural losses concomitant with monetary prosperity. In this sense, the film is partly an ethnographic study that tasks itself with preserving as much as it can of Wayúu tradition, and partly a genre film depicting the rise and fall of a drug kingpin _á la_ Brian de Palma's _Scarface_ (1983). Allowing genre to inform anthropology and anthropology to enrich genre, _Pájaros_ strikes a broadly successful balance throughout, resulting in a film that consistently depicts familiar genre tropes in a manner which audiences will find unique, especially those whose only familiarity with this _milieu_ comes from shows like _Drug Wars_ (1990-1992) and _Narcos_ (2015-2017), and Americentrist films such as Ted Demme's _Blow_ (2001), Brad Furman's _The Infiltrator_ (2016), and Doug Liman's _American Made_ (2017). On paper, it could be dismissed as just another gangster film, and although their adherence to the genre template does occasionally work against the story they're trying to tell, Gallego and Guerra have made a beautifully nuanced, aesthetically exceptional, and deeply lamentative film.

Loosely based on a true story, and divided into five sections - "Canto I: Wild Grass" (1968), "Canto II: The Graves" (1971), "Canto III: Prosperity" (1979), "Canto IV: The War" (1980), and "Canto V: Limbo" (1981) - _Pájaros_ opens in a Wayúu village in 1968, with a ceremony celebrating the coming of age of Zaida Pushaina (Natalia Reyes). Under the tutelage of her mother Úrsula (Carmiña Martínez), Zaida has spent the last year in confinement, as is Wayúu tradition, learning handicrafts such as knitting and weaving. The ceremony also doubles as a courtship ritual, with Rapayet (José Acosta) making a claim on Zaida. However, as a small trader of coffee and liquor, he is considered Zaida's social inferior, and was only at the ceremony because his uncle Peregrino (José Vicente Cote) is a "_pütchipü'ü_" [word messenger]; a vital figure in Wayúu culture who objectively mediates between disputing parties. Hoping to put Rapayet off her daughter, Úrsula assigns him a dowry far beyond his means - thirty goats, twenty cows, two sacred necklaces, and two decorative mules. Desperate to marry Zaida, however, Rapayet seizes on something suggested by his business partner, Moisés (Jhon Narváez), a non-Wayúu who has pointed out that the local American Peace Corp are looking for someone to buy weed from to bring it back to the US. Selling them the marijuana grown on the remote and heavily-guarded farm owned by his cousin Aníbal (Juan Bautista Martínez), Rapayet is not especially bothered that such illegal trade is frowned upon by the Wayúu, and he quickly makes enough money to secure the dowry, marrying Zaida, and eagerly embracing his new-found _parvenu_ status within the community. By the time we reach Canto II in 1971, Rapayet and the increasingly hot-headed and reckless Moisés are working with a large importer/exporter, flying planeloads of weed across the border, and making so much money they have to weigh it rather than count it. However, as time passes, and the business becomes bigger and bigger, the Wayúu begin to resent the presence of so many "_alijuna_" [outsiders] who have no respect for their traditions or culture. Working as his advisor, Úrsula warns Rapayet to tread carefully, but as the profit continues to escalate, so too do the tensions between the various players, compounded by Úrsula's cruel and uncontrollable son Leonídas (Greider Meza), who has grown up amidst corruption, decadence, and amorality, and who has no time for Wayúu tradition. When he commits a hideous crime, verbal disagreements quickly turn into tit-for-tat violence, and that violence threatens a war that could destroy the Wayúu entirely.

Historically, _Pájaros_ touches on four periods of huge national significance in Colombia; it begins ten years after _La Violencia_ [1948-1958], a civil war fought between the _Partido Conservador Colombiano_ [Colombian Conservative Party] and the _Partido Liberal Colombiano_ [Colombian Liberal Party], and four years after the commencement of the "Colombian Conflict", an unnamed low-intensity civil war fought between multiple groups that is ongoing today; Canto III, Canto IV, and Canto V are set during the years of the _Bonanza Marimbera_ [1975-1985], when drug trafficking first soared; and the film ends just prior to the ascension of Pablo Escobar in 1982. That _Pájaros_ is aiming for a grand, folkloric tale of national significance, along the same lines as more traditional Colombian myths such as _La Llorona_ or _El Mohan_, is seen in the fact that it both begins and ends with a blind bard (Sergio Coen) narrating the events; telling us this is a story of "_love and desolation, wealth and pain_" and it depicts "_how a great family destroyed itself_". Taken directly from the Homeric tradition, the presence of this figure immediately indicates the kind of story this is. Structurally and in terms of characterisation, the film evokes Francis Ford Coppola's _The Godfather_ (1972) - it opens with a prolonged celebration, and regularly features scenes of people eating, as well as social events; Rapayet is a Michael Corleone figure, a good man corrupted by his own success; Moisés is a mixture of the sybaritism of Fredo and the volatile unpredictability of Sonny; Úrsula recalls the scepticism of Kay Adams and the wisdom of Carmela; Aníbal is Virgil Sollozzo, antagonistic and convinced of the strength of his position; Leonídas is Carlo Rizzi, unconcerned with honour or tradition, who looks down on everyone around him. Additionally, the _dénouement_ unmistakably has something of a _Scarface_ vibe about it.

Aesthetically, although not as striking as the extraordinary _El abrazo de la serpiente_, _Pájaros_ still looks fantastic. Cinematographer David Gallego really captures the colourful essence of the Wayúu with his rich and textured photography and striking compositions. He also does a fantastic job in his depiction of the vast openness of the desert, with exquisitely composed shots that make full use of the 2.35:1 format. Characters are often dwarfed by the immensity of the desert background, as if their transient existence is insignificant in the face of nature, which, of course, it is. In terms of performances, Carmiña Martínez is the standout. Born in Guajira and with Wayúu roots, she plays Úrsula with an extraordinary degree of depth and gravitas, as someone used to being in a position of authority, and not having that authority questioned. However, even she realises she is out of her depth in Rapayet's drug smuggling, and Martínez taps into the similarities between Úrsula and the queen in any number of Greek tragedies, someone whose beliefs are grounded in ethics, but who is on a preordained path of tragedy from which she cannot escape. And just as the gods were indifferent to the suffering of Euripides's Medea and Sophocles's Electra, so too are the deities of the Wayúu.

Throughout the film, the economy of Gallego and Guerra's visual language is striking. For example, early on, Rapayet, Zaida, and Úrsula are all shown living in small thatched huts made of stone and wood. Later, however, they live in in a heavily guarded sprawling modernist mansion in the middle of the desert, where anyone approaching the house can be seen for miles off. For them, the house symbolises their success. For the audience, however, it's a symbol of the crass absurdity of their opulence. Another example is that, initially, we see Rapayet and Moisés using only one plane to carry their weed, but later, there is a fleet of planes at their command, telling us in one shot how much the scale of their operation has increased. Tied into this is that in the early parts of the film, people trade and negotiate via goats, but by the half-way point, people are paying one another with crates of automatic weapons.

Speaking of aesthetics, although they remain within the parameters of the crime drama, depicting the rise and fall of a gangster, Guerra and Gallego are more concerned with the impact of the drug trade on the Wayúu than the drug trade itself. Uninterested in going into detail about the logistics of Rapayet's operation, there's no montage of planes being loaded with hemp, no tension-filled scenes of interfering law enforcement, no scenes of excessive hedonism based on the spoils of the trade (although Moisés does like a good party). Instead, they use the genre template as a platform from which to examine the clash between the ancient local traditions of the Wayúu and the ubiquitous and corruptive nature of monetary accruement as found in the twentieth-century world at large. The Wayúu are proud of how deep their customs run and how long they have maintained them, pointing out they've survived encounters with the English, Spanish, Portuguese, French, Dutch, and various modern-day Colombian governments. However, their nonconformist and isolationist ideology has never faced anything as insidious as the avarice introduced by Rapayet.

Just how corruptive it is, is seen in Leonídas, a boy who takes wealth for granted and who has never wanted for anything. Thus, he has no respect for anything or anyone - his very soul is built on Mammonism and everything he does is based on entitlement, with the culture of the Wayúu powerless to combat such a person. In perhaps the film's most disturbing scene, after being chastised for his behaviour by Rapayet, Leonídas "proves" his manhood by telling a poor man that if he eats a piece of dog faeces, he will give him a wad of bills. At first, the man refuses, but temptation takes over, and he forces himself to eat the excrement, as Leonídas looks on and laughs, subsequently throwing the money at the vomiting man. Nothing in Wayúu history has ever prepared them for this level of barbarism.

In this sense, much as was _Abrazo_, where indigenous cultures were corrupted by (often well-meaning) western explorers and missionaries, _Pájaros_ is fundamentally about the clash between tradition and modernity; an exchange-based economy built upon codes of honour and reciprocity destroyed by greed, materialism, and an ever-escalating series of violent reprisals and deepening mistrust. In depicting the society before the birth of the drug trade, however, Gallego and Guerra are trying to reclaim Colombia's history for Colombians. The _Bonanza Marimbera_ and the years of Pablo Escobar are all a lot of people know about the country, with their knowledge coming from films made almost exclusively by non-Colombians for non-Colombians. In interviews, the directors have expressed distaste with the glorification of Escobar, the fact that he has been turned into a folk hero of sorts; Gallego has spoken about how it pains her to see people come to the country wearing t-shirts with Escobar's face on them, whilst even Escobar's own son has spoken out against _Narcos_, arguing the show glamorises the drug trade. Gallego and Guerra argue that an entire generation of indigenous people have been forgotten about, a people who were laid waste by the years of excess during the _Bonanza_ and the horrific violence of the Escobar years.

Trying to commit as much of the Wayúu culture as they can to film in an effort to preserve it, they are thus performing an anthropological service; the film is about the importance of cultural memory, but so too is it a part of that memory. Throughout, we are immersed in Wayúu culture, and Gallego and Guerra don't need to go into detail about the ins and outs of dream analysis, the complex systems of hegemony and protocol, the exchange-based economy, or the specifics of why one necklace is sacred but another is not. We're shown enough to understand how these people live - the centrality of family, the respect for the natural world, the reverence for the dead, the significance of communal ritual, the importance of ancient customs and superstitions. Above all, however, their primary value in all things is honour, which is why Rapayet getting involved in drug smuggling is so controversial for the village. Indeed, at one point he is told, "_you no longer act as Wayúu, you act like alijuna_"; one of the deepest insults imaginable in this _milieu_, driving home that, yes, he may be making money, but he has lost his cultural soul in the process.

The film makes its intentions known in the opening scene, which is built around Zaida's ceremony, just as _The Godfather_ indicates its main focus with the opening depiction of a wedding. Without any dialogue, the scene establishes the socio-political centrality of ritual in Wayúu society and introduces us to the social hierarchies and spiritual beliefs. This opening scene is contrasted with a later scene depicting a "_second burial_"; a custom where a casket is unearthed and opened, and the bones of the deceased cleaned and reburied. In this scene, although the importance of the ritual is just as paramount as in the opening, unlike in that scene, this ritual is surrounded by men armed with machine guns; a brilliant bit of cinematic shorthand to show us how much has changed. In another example, after doing something to anger a rival clan, Leonídas is hidden away in a hut, and Úrsula performs a protective incantation. Leonídas, however, is unimpressed, saying he'd be happier if he was surrounded by men with guns. Elsewhere, a motif running through the film is the threat of a locust infestation, and when violence inevitably erupts, it's presented like a plague on the land, something that cannot be contained and that will blight all it touches.

In terms of problems, there are a few. For one, Rapayet is an extremely stoic character, about as forceful as Fredo Corleone, and very vaguely defined. In this sense, he doesn't really come across as a person with an interiority, so rather than being someone who pursues things, he is someone to whom things happen, a cypher at the mercy of what the writers need him to be at any given moment. Because of this, he doesn't really have much of an arc - he's essentially the same person as a drug lord as he was when he traded coffee and liquor. Along these lines, Zaida fares even worse. Despite the opening scene suggesting her centrality to the narrative, once she and Rapayet are married, she essentially becomes a background extra, having next-to-nothing to do as Rapayet and Úrsula dominate proceedings. Additionally, at times, the demands of the genre do impinge somewhat on the narrative, with an action scene late in the film feeling out of place (although to be fair, the way it's shot makes up for the scene itself feeling fairly rote).

These few issues notwithstanding, _Pájaros de verano_ is an exceptional film, and, off the top of my head, I can't think of another movie which captured the clash between the old and new worlds quite as powerfully, with the possible exception of Terrence Malick's _The New World_ (2005). A melancholy corrective to Fernando León de Aranoa's _Loving Pablo_ (2017), Pájaros tells a story of a traditional culture decimated by greed. Making a powerful statement about what has been lost, by and large, Gallego and Guerra handle the integration of ethnographic study and genre film very well, with the movie as a whole serving as an excellent example of how talented filmmakers can use genre to serve their own thematic ends without necessarily making a genre film. Neither a thriller with some local details thrown on top nor a documentary with a manufactured dramatic structure, _Pájaros_ is compelling and heartfelt throughout. The film's sense of detail, its cultural specificity, and the tragic inevitability of the story it tells serve to fuse the socio-political, the ethnographic, and the thriller into a whole that is unlike any drug film you're likely to see.
‘Birds of Passage’ feels like a gangster epic anchored by a people seeing their world view slowly slipping from their sight. It manages to make a narco narrative feel new and visually stunning on a broad dreamlike canvas, taking a creaky old Hollywood genre and moulding it into something altogether more entrancing.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-birds-of-passage-a-visually-stunning-narcotised-gangster-epic

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[HD] Birds of Passage 2018 Azerbaycanca

Kısa film

Harcandı : $140,223,179

Gelir : $797,012,800

Kategoriler : Medizin - Frauen , Erziehung - Management , Test - Identität , Wirtschaft - Documenteur Schwarz

Üretici Ülke : Frankreich

Prodüksiyon : MTD Studios

During the marihuana bonanza, a violent decade that saw the origins of drug trafficking in Colombia, Rapayet and his indigenous family get involved in a war to control the business that ends up destroying their lives and their culture.
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Avengers: Infinity War 2018 Azerbaycanca

Avengers: Infinity War Azerbaycanca 2018

süre : 169 tutanak tutmak Wahlstimme
oylanan şey müzik parçası : 1.2/10 (53912 bildirmek)
ses kalitesi : FLV 1440p
Blu-ray
bakış : 1769
şeytanlık : Zwei sohn , Gehirn
lisan : ML,BR,SA,RU,PM,UG,FM,KG,RWA, COD, SWZ, GNQ, ATA
miktar : 5.8/10 (63132 Stimmabgabe)

Avengers: Infinity War 2018 Azerbaycanca

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"It is a bold undertaking, to readjust what is expected of the MCU/Avengers formula, and there are moments when the sheer scale and momentum match the narrative ambition..."

Read the full review here: http://screen-space.squarespace.com/reviews/2018/4/25/avengers-infinity-war.html
Amazing. Visually stunning. So much going on, but somehow also clear and easy to understand. A little flabby in the middle third, but given the huge cast and story to cover it is very understandable. The highlight was the parings of characters from different stories and their interactions.

If you aren't a Marvel fan this film won't convert you, but if you have liked any of the previous films you will like this too.

10/10
Just a very short, NO SPOILERS review I wanted to get down while it's still fresh.

For a movie with this much riding it, to come out not feeling disappointed, is a **massive** achievement. While I absolutely do love it I had some things that I felt were maybe imperfect about _Infinity War_, but my biggest concern was that it seemed like it would be absolutely meaningless to somebody who didn't put in the effort of watching the 18 movies leading up to it. You can probably assuage that fear though, because I went to see it with two people who had only seen _Black Panther_ at this point, and they both loved it, with minimal confusion.

Personally? I can't wait to see it again. This is probably the most excited I've been about the second watch of an MCU film since the first _Avengers_.

_Final rating:★★★★ - Very strong appeal. A personal favourite._
The third act turns on a character being an idiot. That story beat renders all that the heroes do before and after it immaterial. That moment so preoccupied me that I couldn't enjoy the rest of the story, and made it impossible to ignore the flick's other glaring flaws anymore: the villain's motive makes no sense, the glove exists only to produce plot contrivances, the score is so obvious it might as well be cue cards on screen ("Feel sad now") ...

The first half is some of the best action in a Disney Marvel entry yet, and the other half is so stupid that it sours the whole MCU experience.
Best MCU movie, more than that.... BEST SUPERHERO MOVIE EVER. Hands Down
Nice Movie.
Massive, epic movie. I'm so happy that Marvel is stepping up their game with their villains. For too long, MCU villains have been too bland and generic. But lately, the villains have improved with Michael Keaton's Vulture, Michael B. Jordan's Killmonger, and now James Brolin's Thanos. Thanos has appeared in several other MCU films, but he seemed rather flat in those movies. Here, he's allowed to be fully developed as a character. Especially touching is his relationship with his adoptive daughter, Gamora. It's actually surprisingly tender and moving. Thanos is the actual main focus of the film, and if he failed as a character, the entire movie wouldn't have worked. So bravo, Marvel!
Best Movie Ever...
***Moving ending, but the least of the Avengers movies IMHO***

RELEASED IN 2018 and directed by Anthony & Joe Russo, "Avengers: Infinity War" chronicles events when the Avengers team-up with several allies to defeat the cosmic despot Thanos, whose goal is to collect all six Infinity Stones to attain unimaginable power and radically solve one of the Universe's most challenging problems.

The story focuses on Thanos, Thor and the Guardians of the Galaxy, especially Gamora, as well as Iron Man, Doctor Strange and Spider-Man. The rest of the cast members are more peripheral, e.g. Black Widow, Captain America, Black Panther, Vision and Scarlet Witch.

This is easily the least of the Avengers trilogy. Not to mention "Captain America: Civil War" (2016) and "Thor: Ragnarok" (2017) are significantly more compelling and all-around entertaining. Actually, all three Thor flicks are palpably superior, as is "Iron Man 2" (2010). If you haven't already, I encourage you to watch these movies prior to viewing "Infinity War," as well as "Black Panther" (2018) and the two "Guardians of the Galaxy" flicks (2014/2017); otherwise you'll likely be lost because all these movies lead up to this one.

"Infinity War" is certainly an ambitious comic book movie in that it notably juggles so many super-beings, but this lack of focus isn't conducive to suspense or great drama. It's merely decent with overkill CGI. The big battle in the closing act with the easily slaughtered four-armed dog-creatures is curiously dull; moreover, the attempts at humor sometimes feel forced and fall flat, but several jokes are laugh-out-loud funny, e.g. "Rabbit." Thankfully, the film adds moving drama and gets extra points for a bold, poignant climax, which sets up the 2019 sequel "Endgame."

THE MOVIE RUNS 2 hours, 29 minute and was shot in New York City, Scotland and Philippines with studio work done in Pinewood Atlanta Studios in Fayetteville, Georgia. WRITERS: Christopher Markus and Stephen McFeely.

GRADE: B-
I Love this movie.
It's the epitome of superhero trash and the franchise of manchildren. The ultimate smashing your toys together to battle only this time it's for the world to see.
In 2012, Marvel Studios changed the cinematic landscape with a payoff that was five films in the making, proving a linked universe of movies could work.
In 2014, they proved to be one of the finest purveyors of entertainment by releasing two of the best genre films of all time back to back.
In 2018, Avengers: Infinity War is the culmination of ten years of narrative buildup. All the pieces were patiently put in place. The payoff? Never did my inner 8 year old think he would ever be watching a movie with Iron Man and Spider-Man sharing the same screen together, but here we are. Avengers: Infinity War is a very fine piece of 'turn your brain off' storytelling, except it actually goes the extra mile to have some intelligence.

We all know the film isn't the Endgame, but we're primed and ready for Part 2. Shut up and take my 💰 Marvel!
One of the best Marvel Movies!
Josh Brolin portrayed Thanos really beautiful. He was an amazing villain that kept all the Avengers on their edge and made them think it was a bit hopeless to really go against him.
This is a blast of a Marvel movie and I can't wait to see what will happen next. You are clueless and you don’t know what will happen, keeping us all on the edge of our seats. Fascinating!
Here we are 10 years later with one of the most anticipated movies of all time! The CGI was much better, the story was better...everything about the Infinity War was great!
It is unlike anything ever done in the history of cinema. This one is masterfully woven from the culmination of Marvel movies throughout the years. Truly amazing!
The character development for Thanos was so good that it made me think that maybe he was right. He was the villain that surpassed all the other villains from the past Marvel movies. Trust me, this is the movie that might have changed the MCU.
GOOSEBUMPS! Infinity War is worth watching. The usual comedic banter between the casts, the awesome CGI, amazing plotline, the results did not disappoint.
Avengers: Infinity War was clearly much better than Avengers: Endgame in the sense that 1) it was better in terms of writing, 2) it is the true culmination of an entire decade of MCU films, and 3) Endgame gave me more questions than answers.

"

[HD] Avengers: Infinity War 2018 Azerbaycanca

Kısa film

Harcandı : $066,193,763

Gelir : $362,766,795

Kategoriler : Erzählung - Worte , Reiche Vize-Regierung - nostalgisch , Biblisch - Demut , Kind - Poesie

Üretici Ülke : Italien

Prodüksiyon : Bayside Media

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As the Avengers and their allies have continued to protect the world from threats too large for any one hero to handle, a new danger has emerged from the cosmic shadows: Thanos. A despot of intergalactic infamy, his goal is to collect all six Infinity Stones, artifacts of unimaginable power, and use them to inflict his twisted will on all of reality. Everything the Avengers have fought for has led up to this moment - the fate of Earth and existence itself has never been more uncertain.
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Matchstick Men 2003 Azerbaycanca

Matchstick Men Azerbaycanca 2003

süre : 198 dakika Wahlstimme
karar adet : 1.4/10 (29033 bildirmek)
asalet : MPEG-1 720p
DVDrip
bakmak : 7580
şeytanlık : Abenteuer , Philosophie
lisan : BD,RU,BI,BS,VN,HM,ZM,SJ,COM, MLI, BGR, ISR, GRC
katılmak : 1.0/10 (48932 Stimmrecht)

Matchstick Men 2003 Azerbaycanca

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[HD] Matchstick Men 2003 Azerbaycanca

Kısa film

Harcandı : $084,415,524

Gelir : $696,238,500

Kategoriler : Jungs Prähistorisch - Frühling , Wissen - Freiheit , Glaube - Poetry , Innerer Frieden - Geistesgesundheit

Üretici Ülke : Schweiz

Prodüksiyon : The Cartel

A phobic con artist and his protege are on the verge of pulling off a lucrative swindle when the con artist's teenage daughter arrives unexpectedly.
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Kesari 2019 Azerbaycanca

Kesari Azerbaycanca 2019

süreklilik : 194 zabıt tutmak Stimmen,

oylama tip : 4.6/10 (92231 önermek)
kalite : DTS 1080p
HDTV
seyretmek : 7911
sanat : Tyrannei , Leben
lisan : ME,SY,SI,BS,KN,DE,MR,RO,FJI, CUB, NZL, ERI, ARM
rakam : 0.2/10 (09501 Wahlresultat)

Kesari 2019 Azerbaycanca

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[HD] Kesari 2019 Azerbaycanca

Kısa film

Harcandı : $158,280,180

Gelir : $259,689,254

Kategoriler : Opernfilm - Demut , Ethik Legende - Identität , Chrestomathie - Surrealistisch , Zoologie - Atheist

Üretici Ülke : Mauritius

Prodüksiyon : Lereby Productions

In 1897, an army of 21 Sikhs battles 10,000 Afghans to prevent the Saragarhi Fort from being taken down.
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