After the bell pepper just on bolly4u

 Like most (and probably all) of Stanley Kubrick's film adaptations, A Clockwork Orange combines many features of Anthony Burgess' novel, perhaps better (in Kubrick's film, Alex (the terribly electric Malcolm McDowell) is not a pedophile, for example). Modern science and psychology are the best way to deal with the extreme violence of Alex and his friends. Bolly4u.hair when the British Home Secretary (Anthony Sharp) puts Alex in the role of victim, it becomes painfully clear that evil has won. I ask you, who would listen to Song in the Rain after this nightmare?". Scott Waldo.

Unimaginable gems

Howard Ratner (Adam Sandler) runs a high-end department store' on New York's Diamond Row, where he and his family thrive, but he doesn't shy away from gambling and owes his brother-in-law Aaron (Eric Bogosian's ruthless crook) a lot of money. Bolly4u com Howard hires Deman (Lakeith Stanfield) to handle customers and merchandise, and Julie (Julia Fox, in her first role in The Tempest, The Impossible), an employee with whom Howard has an affair and whom he "keeps" in his New York apartment. Only his wife (brilliantly played by Idina Menzel) seems fed up with this nonsense. Then a special package arrives from Africa. It is a black opal, seen in a close-up at the beginning of the film, which Howard says is worth millions of dollars. On the day the opal arrives at the store, DeMani brings in Kevin Garnet (playing in the style of the Safdie brothers), who prompts Howard to make a special bet that leads him, Aron, and the others to discover many new things together. In his sixth film, however, Safdie seems to appreciate the intensity of Howard's life, and the myriad dynamics he faces are portrayed in all their glory. Just before the competition, Howard talks to Garnett about the big prize and explains that he will receive it. He sees bigger things, he's on a higher wavelength, and that's how you win. Whether he organizes it or does it himself, either way I always felt there was something about Sandler's film. Maybe that's what I think he is" - Sinacola House.

You have to answer

His debut film, She Needs It, made as a documentary and unambiguously honest, immediately made Lee a bold and fresh exponent of American cinema. The film quietly examines Nora (Tracey Camilla Jones), a young black woman who is openly bisexual and tries to choose between three male lovers to discover what will make her happy. The encouraging thing about the film is that Lee continually insists that the answer "any of them" fits both Nora and the single woman perfectly - something changed in 1986. "The black-and-white nature of the independent film gives it a realistic quality" Oktay Ege Kozak

Full Metal Jacket

The value of Full Metal Jacket undoubtedly increases in the first half of the film and decreases as the film becomes more conventional. However, the second chapter of Stanley Kubrick's Vietnam horror film sets the conventions by which this film will be judged in the future, and even unconventional material from a filmmaker like Kubrick is worth watching. Full Metal Jacket Part Two is a film worth seeing in every sense of the word. A dark and pleasantly moving portrait of how war changes people, in contrast to the culture of war described in the first part. Constant humiliation splits the human soul in half. The desire to kill another person crushes his soul. It's true that there's nothing in Full Metal Jacket that doesn't work or doesn't live up to Kubrick's intentions, but there's no doubt that the pre-war scene is unmistakable, not least because of Roth's immortal performance. Lee Ermey as the world's most feared sergeant - Andy Crump

"Apocalypse Now Redux"

I quote Truffaut because his humor fits the fantastic adaptation of Joseph Conrad's novel Heart of Darkness, war movies like Paths of Glory, and war movies in general. Bolly4u in if Truffaut is to be believed, Apocalypse Now (and the updated version available on Netflix, which includes 49 minutes of additional footage) can only promote war by presenting it as art. This doesn't necessarily prevent the film from asserting Coppola's thesis: war turns people into monsters, returns them to a primordial state of injustice, and war is hell itself - a grim phrase that has become a cliché so often used since 1979. The film condemns war for its content, but not for its impact on the humanity of the characters involved. "Apocalypse Now is one of the most profound examples of how state-sanctioned violence affects the human soul and psyche. While it's amazing that even 40 years later we can still quote the film in ads for SUVs and off-road vehicles, or use the authenticity of the era to remake "King Kong" for modern audiences, there is nothing good or even quotable about this film. "The Apocalypse is frightening, confronting and painful, seeping into our memories in a way that only the darkest manifestations of human decency can do." - Andy Crump

 So

The ghost of old Detroit haunts the film It Follows. Whether it's in the twelve-mile suburbs, a farmhouse in Ferndale, or a dilapidated 1960s ice cream parlor in Berkeley, the cast of "Brocade"-thin teenagers speaking with awkward accents-anyone who's never been there won't recognize the gray nostalgia that permeates every corner of David Robert Mitchell's film. But it's there, and it feels like southern Michigan. The music, the subdued but surprisingly rich color palette, the constant anachronisms - Mitchell is a filmmaker whose style seems to have emerged from the morbid bowels of Detroit. There are concentric circles and circles in "Then", and from the very isolated scenes of horror to the rounded faces and bodies of a small group of characters reliving intense youth, the viewer never forgets that these people are in many ways still children. In other words, Mitchell knows his past: it happened before and it will happen again. None of this would have happened if Mitchell hadn't wanted to make a real horror film, but every aesthetic twist, every completed turn depends on the character's ending: something, anything, slowly emerges from the background, from the nightmare, and approaches you, as if death itself is suddenly in sight, very close, ready to take your soul, more or less forever. Mitchell's whole concept - ghosts appearing during sex - at first glance seems to disguise conservative sexuality under a typical horror trope to pass itself off as a progressive fixation on the genre, but it doesn't help our understanding of horror films in any way. If you commit adultery, you will be punished for your egregious and horrific crime, right? (The film has more in common with Judd Apatow's films than you might think). Mitchell, on the other hand, never condemns his characters for doing what almost every teenager wants to do and instead uses subtle allegory to show the reality of teenage sex. Bolly4u there is no theoretical nuance to Mitchell's intention; the great sexual act is to share your corporeality to some degree with the person you are sharing it with. The fact that this acknowledgment is accompanied by genuine respect and compassion for characters who in any other horror film would be fodder for sadists makes The Ones Who Walk a film with a shade of shadow.