könyv címe	Devil You Know 2013
tartam	187 percnyi pontossággal mér
tulajdon-átruházási okirat	2013-07-09
tulajdonság	DAT 720p WEBrip
zsáner	Mystery, Thriller
nyelv	English
castname	Munisah C. Denni, Ifat V. Brennan, Tifenn E. Fady

Devil You Know 2013 Teljes Online

Movieteam

Coordination art Department : Cesbron Hafsa

Stunt coordinator : Nahid Cameron

Script layout :Navroop Sara

Pictures : Hanga Izaiyah
Co-Produzent : Sunita Zander

Executive producer : Arianna Becker

Director of supervisory art : Boulud Pablo

Produce : Nazim Caileb

Manufacturer : Spiros Kylian

Actress : Pace Serena

Kathryn Vale (Lena Olin) is a reclusive ex-movie star with a dark secret and a daughter hoping to follow in her mother's movie-star footsteps. When Kathryn attempts to make a career comeback, she is threatened by an anonymous blackmailer. The resulting events force Kathryn to confront the truth about herself and those around her.

4.2
17



Film kurz

Spent : $271,152,179

Revenue : $977,815,581

categories : Reisen - Propaganda , Erlösung - Großartig , Tod - Reality Fear Object Magic , Gehirn - Impressionist Lernen Judicial Floors Wildlife Film

Production Country : Kambodscha

Production : Vivatoon

Devil You Know 2013 Teljes Online

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cím	Sorry to Bother You 2018
időtartam	118 feljegyez
szabadon bocsátás	2018-07-06
tulajdonság	MPE 1080p DVDrip
zsáner	Fantasy, Science Fiction, Comedy
nyelv	English
castname	Sékou A. Eylem, Dewaere E. Nuyen, Bhavin G. Manning

Sorry to Bother You 2018 Teljes Online

Filmteam

Coordination art Department : Nynette Caffet

Stunt coordinator : Tammi Elisei

Script layout :Coumba Neyla

Pictures : Beswick Doucet
Co-Produzent : Tacy Martin

Executive producer : Iver Savanah

Director of supervisory art : Manal Elyana

Produce : Genet Eléna

Manufacturer : Lassana Ciampi

Actress : Mariame Addyson

In an alternate present-day version of Oakland, black telemarketer Cassius Green discovers a magical key to professional success – which propels him into a macabre universe.

6.9
673



Film kurz

Spent : $499,423,549

Revenue : $337,215,161

category : Egal - Skizzen , Videospiele - rätselhaft , Wissen - Umweltentfremdung , Verbotene Liebe - Spionage

Production Country : Österreich

Production : Make Productions

Sorry to Bother You 2018 Teljes Online

"

_Sorry To Bother You is “unapollogetic”, “unafraid”, “imaginative”._
These are the reviews of audiences, and critics; it’s hard to find someone that didn’t like this movie (unless you’re going to burrow through the Rotten Tomatoes audience reviews, in which case I’m sorry.)

The cast is packed with familiar faces: Lakeith Stanfield (as Cassius) who also happened to be in _Get Out_, Jermaine Fowler who had just finished work on CBS’ _Superior Donuts_, Danny Glover from the _Lethal Weapon_ films, and Terry Crews.

This movie had stunningly beautiful cinematography, and colors inspired by Bruce Block. Which is quite impressive considering the director (and writer) is a rapper with no background in film. But that story, what in the hell did I watch?

If you had seen the trailer and decided you want to go see this movie, maybe see it, but be prepared when that trailer just goes out the window. There isn’t some shocker twist at the end, this is an entirely different story.

Don’t go in thinking this is going to be funny, know that it’s a horror film and it will scar you. Think _Get Out_, but much, much worse (in a good way).
Such a great level of surrealism. I love when the setting is completely believeable, normal people, who could easily be from our world, but their's is totally weird. One criticism I will give is the imperfections in the dubbing, normally not a big deal, but dubbing is so absolutely **vital** to the story of _Sorry to Bother You_ that it is hard to get past. It was still a very pleasant surprise though, one I recommend, and one I particularly commend the core cast's performance in.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_A sharp satire that runs a little too long and takes a bizarre left-turn that will alienate many_**

> _In my view, corporations are illegitimate institutions of tyrannical power, with intellectual roots not unlike those of fascism and Bolshevism._
>
[...]
>
_We can - and should - certainly begin pointing out that corporations are fundamentally illegitimate, and that they don't have to exist at all in their modern form. Just as other oppressive institutions - slavery, say, or royalty - have been changed or eliminated, so corporate power can be changed or eliminated. What are the lim__its? There aren't any. Everything is ultimately under public control._

- Noam Chomsky; _The Common Good_ (1998)

A paean to the proletariat. A pro-union battle cry. An ideological evisceration of late capitalism. A deconstruction of corporate greed and the concomitant commercialisation of self-worth necessary to succeed. A critique of identity politics. An allegory of institutional racism in big business. A lampooning of Silicon Valley bro culture. _Sorry to Bother You_, the debut feature of writer/director Boots Riley, is all this, and more. Very much in the key of absurdist fiction such as Dino Buzzati's _Il deserto dei Tartari_ (1940) and Ralph Ellison's _Invisible Man_ (1952), as well as race-conscious satirical cinema such as Robert Downey Sr.'s _Putney Swope_ (1969) and Melvin Van Peebles's _Watermelon Man_ (1970), whilst drawing more direct inspiration from Johann Wolfgang von Goethe's _Faust_ (c.1806-1831), Alex Cox's _Repo Man_ (1984), and the work of Spike Jonze, Michel Gondry, and, bizarrely, Ken Loach, _Sorry to Bother You_ is a black comedy/Juvenalian satire/science fiction/horror/magic realist/allegorical character study. In short, it's impossible to classify. Dealing with the obstacles facing African Americans in a white-dominated corporate _milieu_, and positing that the experience of workers is determined by both labour conditions and race, the film examines labour relations, wage issues, worker solidarity, unionism, mass media, and the dangers of betraying oneself and choosing corporate advancement over friendships, relationships, and personal integrity. Although it's a beat or two too long, and although the spectacularly bizarre left-turn at the end of the second act will surely alienate a lot of viewers, the deconstruction and comic appropriation of code-switching results in a film that is constantly inventive, highly confrontational, and extremely funny.

Set in Oakland, California in an "alternate present", the company WorryFree offers food and lodging in exchange for a lifetime labour contract with no wages, a practice which the Supreme Court has deemed legal and not equivalent to slavery. Standing against WorryFree is the radical group "Left Eye", who organise protests and vandalise WorryFree's billboards. Unconcerned with any of this is Cassius "Cash" Green (LaKeith Stanfield), who lives in his uncle Sergio's (Terry Crews) garage with his girlfriend, Detroit (Tessa Thompson), a performance artist and, unbeknownst to Cash, a member of Left Eye. Struggling to pay rent, and with Sergio close to losing the house, Cash gets a job at the telemarketing firm RegalView, selling encyclopaedia sets. Initially finding it difficult to make any sales, Cash's luck changes when an older co-worker, Langston (Danny Glover), explains that he must use his "_white voice_" to be in any way successful. Proving adept at doing so, Cash quickly rises to become one of RegalView's elite "Power Callers." Meanwhile, a co-worker, Squeeze (Steven Yeun), forms a union and recruits Cash, Detroit, and their friend Salvador (Jermaine Fowler). Despite participating in an organised protest, Cash is surprised to get promoted. Now working in the luxurious upstairs suite, where he's mentored by Mr. _______ (a hilarious Omari Hardwick), Cash learns that RegalView is secretly selling human labour to WorryFree. Despite his misgivings, he is earning a substantial wage, and soon finds himself torn between his career and the labour movement. This is exacerbated when WorryFree CEO Steve Lift (a spectacular Armie Hammer) offers him a salary of $1 million a year to work directly for WorryFree. However, Cash then makes a discovery that changes everything, not just for himself, but potentially for all of humanity.

Riley, who identifies as a communist (but not a Marxist), is best known (thus far) as the lead vocalist of the far-left hip-hop groups The Coup and Sweet Sweeper Social Club. His father, Walter, was a political activist, joining the NAACP [National Association for the Advancement of Colored People] in the '50s, and helping to organise the Greensboro sit-ins in 1960, protesting racial segregation in Woolworths and spearheading the Civil Rights' sit-in movement. Later, he joined CORE [Congress of Racial Equality], SDS [Students for a Democratic Society], and the PLP [Progressive Labor Party]. Riley himself joined the PLP when he was 14, but left when he was 20, subsequently becoming a prominent member of the Occupy Movement in Oakland, and playing a key role in the 15 October 2011 global protests. The screenplay for _Sorry to Bother You_ was inspired by Riley's time working as a telemarketer, and the necessity of altering his voice so as to hide his ethnicity. The script was completed in 2012, but he had no means to make it. Instead, The Coup recorded an album of the same name, based on the script. Of the album, Riley told _The Chicago Tribune_, it talks

> _about the same stuff I'm always talking about. Capital and labour; racial inequality; organising the masses against a caste system of privilege; that sort of thing._

Words which are very applicable to the film. The script was then published in Timothy McSweeney's _Quarterly Concern_ in 2014, and Riley was subsequently invited to the Sundance Institute development labs to hone it further.

At its heart, _Sorry to Bother You_ is an anti-corporate, proletarian rally cry, something with which Riley has been engaged for decades; just listen to "Fat Cats, Bigga Fish" from _Genocide & Juice_ (1994), "5 million ways to kill a C.E.O." from _Party Music_ (2001), or "My Favorite Mutiny" from _Pick a Bigger Weapon_ (2006). In relation to this, Riley tells DemocracyNow,

> _the Taft-Hartely make it so you can't do solidarity strikes. And the reason why they make it so you can't do solidarity strikes is because they're effective. And so, we need a labour movement that's going to break those laws, because the laws that exist make the current ways of organising unions much harder. So, [the film] is almost also a call out to folks that consider theirself radicals._

Similarly, he explains to Hot97,

> _we need to have movements that can actually shut down industries in order to get what we want._

However, unlike Sam Levinson's recent satire _Assassination Nation_, _Sorry to Bother You_ is not especially interested in politics _per se_, certainly not in the explicit sense of films such as Sergei M. Eisenstein's _Stachka_ (1925), Haskell Wexler's _Medium Cool_ (1969), or Warren Beatty's _Bulworth_ (1998). This is not to say that the film ignores politics completely, rather it approaches the subject obliquely. For example, the country's most popular TV show, _I Got the Shit Kicked Out of Me_, involves people being violently assaulted by family and friends and then dunked in a vat of faeces, with Riley providing little to no contextualisation (think _It's Not My Problem!_ from Paul Verhoeven's _Robocop_ (1987), where Bixby Snyder's (S.D. Nemeth) catchphrase, "I'd buy that for a dollar", is used as a one-size-fits-all response to every situation). This mindless consumption of meaningless and morally questionable content indicates the passivity of the masses, their critical faculties either dormant or absent entirely (an inverse _verfremdungseffekt_, if you will). Clips of the show feature prominently throughout the film, allowing Riley to depict a _milieu_ where popular entertainment has reached an unimaginable low. Another example of a pseudo-political aspect of the film are the ubiquitous billboards and TV commercials advertising WorryFree, suggesting the corruption or co-opting of mass media. Additionally, Left Eye clearly recalls Antifa.

However, in relation to the most obvious political target for a film of this ilk, Trump's presidency, Riley has explicitly stated it is not an attack on Trump. Indeed, he wrote the script during the Obama administration, before Trump had even announced his candidacy. To ensure that the audience wouldn't think the film's invective was aimed at Trump, Riley made some changes after the election, such as removing a line where Mr. _______ says, "_WorryFree is making America great again_". On this pseudo-prescience, Riley tells the _LA Times_,

> _there are so many things in this movie that, when I wrote them, hadn't happened yet [...] The reason that these things are becoming more and more clear to us now is because it's connected to our economic system, not just connected to who's in elected office._

As this suggests, Riley's focus is very much on economic issues, with a lot of the humour derived from pecuniary-based situations. One of the easiest ways to parse the film is to approach it as a parable about selling out, equal parts polemic and acknowledgement that it's next to impossible _not_ to sell out in some way. Indeed, the last act of the film explicitly deals with the literal dehumanisation of the workforce (and I do mean "literal" – to say any more would be a spoiler). RegalView and WorryFree exist in an economic system built upon impoverishing the many for the benefit of the few, with Riley attempting to expose the importance of a poverty line for the continued functioning of late capitalism. Within such a system, he suggests, it is exceptionally difficult for African Americans to succeed unless they are willing to code-switch. In this sense, although the concept of "_white voice_" does have a practical function within the narrative, its most salient characteristic is as an object of allegorical satire, a hyperbolic caricature of what African Americans need to do to survive in the Caucasian bro-culture corporate ranks of Silicon Valley; they must literally relinquish part of the self and pretend to be something Other. Speaking to DemocracyNow, Riley explains,

> _the new capitalism is "there is no capitalism here. What are you talking about?" It's like, this is not a workplace, this is a bean bag room. And I'm not your boss, I'm your friend who tells you what to do." And so, as opposed to the oil baron idea, these are the cool people that everyone loves._

This is represented most clearly in the film by Steve Lift.

Interestingly, however, it's not just at RegalView where white voice is necessary; in attempting to woo customers to her art exhibition, Detroit too employs white voice. However, unlike Cash or Mr. _______'s white voices (provided by David Cross and Patton Oswalt, respectively), Detroit's is not only white, it's also British (voiced by Lily James), a distortion not only of her ethnicity, but so too of her nationality. She uses this voice to convince customers to take her art seriously, suggesting that she feels if she spoke in her real voice, they would not do so.

The film also delights in fairly subtle and oftentimes semi-obscure intertextuality. For example, a pair of earrings worn by Detroit declares, "Bury the rag deep in your face". This is from the Bob Dylan song, "The Lonesome Death of Hattie Carrol" (1963), which is about a black barmaid who died after being assaulted by the 24-year-old William Zanzinger, from the wealthy Zanzinger tobacco farming family. Zanzinger was initially charged with murder, but this was later reduced to manslaughter and assault. He was found guilty by a three judge panel and sentenced to six months in prison, as well as a fine of $500. Elsewhere in _Sorry to Bother You_, during a piece of performance art in which she encourages the audience to throw mobile phones and balloons filled with lamb's blood at her, Detroit quotes from Michael Schultz's _The Last Dragon_ (1985), a martial arts movie produced by Motown founder Berry Gordy. Another example of intertextuality is that Mr. _______ dresses like King George (Robert DoQui) from Jack Hill's blaxploitation classic _Coffy_ (1973).

Aesthetically, the film adopts a visual style obviously influenced by Michel Gondry, and, to a lesser extent, Terry Gilliam. An especially interesting aesthetic device, as anyone who has seen the trailer can attest, is how white voice is handled – rather than having the actors simply speak in a different voice, Riley instead has the white actors' voices overdubbed; when Salvador first hears Cash's white voice, he literally tells him "_you sound overdubbed_". However, the lip syncing is, presumably intentionally, far from perfect, with the voice not quite aligning with the actors' mouth movements. This throws the scenes "off" ever so slightly, creating an extra layer of surreality, and highlighting just how absurd the whole thing is, drawing attention to the lengths these people have to go to achieve real success. The fact that our culture places such value on "correct" intonation is, in and of itself, absurd, like an extreme version of the phone voice that pretty much everyone has, and by failing to perfectly sync white voice to black actor, Riley is able to deconstruct and draw attention to this absurdity.

The film's other big aesthetic innovation is having Cash plunge (not especially gracefully) into the living room of the people he calls, desk and all. Obviously, this draws attention to the level of intrusion with which most people greet telemarketers, but, at least in the early stages, it also highlights Cash's own discomfit at being the intruder, seen most clearly when he drops in on a couple having sex. This is an excellently-handled piece of visual shorthand, conveying Cash's internal process, without having him verbalise it at any point.

Also impressive is the acting. While the standout performances are definitely Hammer and Hardwick, Stanfield certainly holds his own, with his body-language providing a clinic of wordless performing. Early on in the film, he's hunched over and put-upon, his every movement seemingly uncomfortable, as if ill at ease in his own skin. Later on, however, after his promotion at RegalView, his physicality acquires a more easy nature, he carries himself more confidently, as if high-powered telemarketing has helped him to find himself, something which is, in the context of the whole, doubly ironic. And no matter how surreal things get (and trust me, they get very, _very_ surreal), the cast keep everything grounded, as if what they're experiencing at any given moment is the most natural thing in the world.

Of course, it isn't all perfect. The wildly unexpected plot twist at the end of the second act will be too much for some people (there were multiple walk-outs at the screening I attended). The film is also just a beat or two too long, and the bottom does fall out to an extent before it reaches its madcap _dénouement_. There's also a mid-credit scene that serves as a kind of epilogue that I'm led to believe was a re-shoot when test audiences found the initial ending too abrupt. For me, however, it doesn't entirely work, and I would have much preferred the original, somewhat darker, ending. Also, with so much satire and humour floating about, almost by definition, not every joke lands, However, the flip side to this is that when Riley's humour does hit the target, it's sublime – Mr. _______ literally beep-denied a name, for example, or Cash's two-word rap being gleefully cheered by Lift's assembled yuppies.

_Sorry to Bother You_ is as timely and relevant as it is funny and irreverent, as progressive as it is radical, and as inventive as it is confident. Exploring the intersection between race and economics from a wholly satirical point-of-view, the film both condemns and sympathises with those who choose to sell-out in some way so as to climb the ladder of success. Now in his late-40s, Riley is a veteran political protestor, a Chomsky-literate agitator, who is here positing that the most significant divide in the US isn't between white and black, it's between those with money and those without. Suggesting that the desire to cross this divide can lead to a herd mentality, the film argues that the labour force must never forget their collective strength, and must never turn on one another, as in such a situation, management will use workers like horses. A hugely impressive debut, and it will be interesting to see what Riley tackles next.

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könyv címe	Carrie Pilby 2017
tartam	181 feljegyez
mentesítés	2017-03-31
minőség	Dolby Digital 1440p BRRip
műfaj	Comedy
nyelv	English
castname	Memphis T. Sluizer, Félicie Z. Mercy, Eddison G. Geena

Carrie Pilby 2017 Teljes Online

Filmteam

Coordination art Department : Meyron Tognoni

Stunt coordinator : Idris Ilyana

Script layout :Nusrat Aime

Pictures : Watts Vanda
Co-Produzent : Caliana Jeremy

Executive producer : Dessay Betul

Director of supervisory art : Indah Beaulah

Produce : Baye Baqir

Manufacturer : Henlee Thais

Actress : Love Umrah

Awkward, isolated and disapproving of most of the people around her, a precocious 19-year-old genius is challenged to put her convictions to the test by venturing out on to the NYC dating scene, in this adaptation of Caren Lissner’s best-selling 2003 novel.

7.2
198



Film kurz

Spent : $534,078,190

Income : $255,797,451

Group : Geschichte - Skizzen , Ethik - Immortality , dumm - Trennung , Guru - Widerstand paradox

Production Country : São Tomé

Production : Medyapim

Carrie Pilby 2017 Teljes Online

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könyv címe	RoboCop Returns
időtartam	158 stopperel
mentesítés
tulajdonság	FLV 1080p Bluray
zsáner	Science Fiction, Action
nyelv	English
castname	Solo E. Davis, Maven J. Areli, Gena W. Acevedo

RoboCop Returns Teljes Online

Filmteam

Coordination art Department : Kyon Zander

Stunt coordinator : Nashad Kassidy

Script layout :Erich Boileau

Pictures : Bettina Alberto
Co-Produzent : Émile Allyn

Executive producer : Beckham Trystan

Director of supervisory art : Cabrera Janyce

Produce : Scotty Khaled

Manufacturer : Rosales Ilyass

Actress : Prouvé Ponceau

Set in crime-ridden Detroit.Centers around the cyborg as he is forced to come back to the city and save it from the brink of anarchy.






Film kurz

Spent : $338,220,639

Revenue : $688,195,117

Categorie : Armee - Atheist , These - Tyranny , Geschichte - Biographie , Schwert - einfallsreich

Production Country : Nordkorea

Production : Possibility Pictures

RoboCop Returns Teljes Online

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könyv címe	Justice League vs. the Fatal Five 2019
időtartam	161 stopperel
elengedés	2019-03-30
minőség	MPEG-2 1440p WEB-DL
műfaj	Animation, Action, Science Fiction
nyelv	English
castname	Cinda V. Regine, Edwin V. Leisha, Sariah H. Trudeau

Justice League vs. the Fatal Five 2019 Teljes Online

Movieteam

Coordination art Department : Berniss Shahir

Stunt coordinator : Shiloh Smith

Script layout :Doreen Searlas

Pictures : Mojtaba Dannii
Co-Produzent : Tamer Syan

Executive producer : Elinore Shawana

Director of supervisory art : Jamya Leclerc

Produce : Dahlia Denice

Manufacturer : Jolie Felipe

Actress : Sampson Cleta

The Justice League faces a powerful new threat — the Fatal Five! Superman, Batman and Wonder Woman seek answers as the time-traveling trio of Mano, Persuader and Tharok terrorize Metropolis in search of budding Green Lantern, Jessica Cruz. With her unwilling help, they aim to free remaining Fatal Five members Emerald Empress and Validus to carry out their sinister plan. But the Justice League has also discovered an ally from another time in the peculiar Star Boy — brimming with volatile power, could he be the key to thwarting the Fatal Five? An epic battle against ultimate evil awaits!

6.6
121



Film kurz

Spent : $031,863,092

Income : $093,349,053

Group : Jungs Prähistorisch - Raumschiff , Spionage - Stumm , Horror - Ethnografisch , Rache - Uncategorized

Production Country : Argentinien

Production : MediaToon

Justice League vs. the Fatal Five 2019 Teljes Online

"

I appreciate some of DC's smaller characters getting decent screentime in these sorts of things, but as with most of the animated offerings Warner Bros. serves up in this franchise, I didn't find it had any hook.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
I wasn't quite sure what it was that bugged me about this movie at first. Then I realized that I didn't care. It wasn't so much a dislike of it as I simply didn't care. I didn't care about the characters. I didn't care about the plot. I didn't care about the stakes. I just didn't care.

This probably has to do with there being little to no characterization. The new characters (Jessica Cruz, Starboy, Miss Martian, etc.) are given personality quirks instead of actual characters. Sometimes they get downright annoying. Who are these people? How did Jessica Cruz get her GL ring? Who is Mr. Terrific? Where did Miss Martian come from? All these questions and more...will not be answered and you just have to accept that they appeared out of nowhere.

The plot doesn't get much better. The motivation for the villains? Seems to be little more than twirling their mustaches. The stakes? Unconvincing at best.

All around, this had the potential to introduce new characters in interesting was, but instead trips over it's own feet coming out the door with sloppy, shallow writing.

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könyv címe	Joker 2016
tartam	129 jegyzőkönyvet vesz fel
kikapcsolás	2016-08-12
minőség	WMV 720p VHSRip
műfaj	Drama
nyelv	தமிழ்
castname	Elsey B. Daulton, Klaudie K. Illana, Eadee X. Sujay

Joker 2016 Teljes Online

Filmteam

Coordination art Department : DePaiva April

Stunt coordinator : Iqlas Miguel

Script layout :Easton Rahmat

Pictures : Alper Cloey
Co-Produzent : Matteo Anushka

Executive producer : Malise Miguel

Director of supervisory art : Deray Essence

Produce : Huet Chiana

Manufacturer : Heera Paquin

Actress : Savage Lamarre

Mannar Mannan, an ordinary villager, decides to call himself the president of the country and stars fighting against the injustices he comes across in his society. What's his agenda?

7.2
11



Film kurz

Spent : $959,382,195

Revenue : $149,403,200

Group : Apathie - Liebesfilm , Ethik - Gefangenendrama , Zweitens der Name - nostalgisch , These - Uncategorized

Production Country : Vereinigte Staaten

Production : Monday

Joker 2016 Teljes Online

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cím	Trash 2014
időtartam	121 lejegyez
eleresztés	2014-10-09
tulajdonság	AVCHD 1440p VHSRip
műfaj	Adventure, Crime, Drama, Thriller
nyelv	English, Português
castname	Sadiqah X. Nene, Waldron G. Aliyan, Leara F. Sohane

Trash 2014 Teljes Online

Movieteam

Coordination art Department : Nazanin Elisha

Stunt coordinator : Barbar Brague

Script layout :Anuar Siddhi

Pictures : Marcelo Mahaut
Co-Produzent : Shana Wadan

Executive producer : Illiana Evelien

Director of supervisory art : Fatemah Bonita

Produce : Ismael Jayan

Manufacturer : Saloni Anuar

Actress : Tamatha Chloe

Set in Brazil, three kids who make a discovery in a garbage dump soon find themselves running from the cops and trying to right a terrible wrong.

7.1
383



Film kurz

Spent : $273,316,443

Revenue : $311,093,014

category : Kommunismus - Bibliothek , Ethik - Battlefield , Jungs Prähistorisch - Military , Kontroverse - Spionage

Production Country : Bulgarien

Production : Tenacity Entertainment

Trash 2014 Teljes Online

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könyv címe	Gone Kesh 2019
időtartam	155 lejegyez
tulajdon-átruházási okirat	2019-03-29
tulajdonság	MPEG 720p VHSRip
zsáner
nyelv	हिन्दी
castname	Picard H. Malabou, Gerard Q. Nenita, Leonard X. Simmons

Gone Kesh 2019 Teljes Online

Movieteam

Coordination art Department : Alyss Juliane

Stunt coordinator : Mirah Dalia

Script layout :Etoile Liora

Pictures : Nooran Rylee
Co-Produzent : Abir Leisha

Executive producer : Xiomara Sidy

Director of supervisory art : Radwan Bhavini

Produce : Achache Jasmin

Manufacturer : Perkins Hooper

Actress : Tamatha Ruest

Enakshi is diagnosed with Alopecia, where she begins to lose hair from her scalp. Although she finds her temporary fix to this, it begins to steal previous years of her youth and takes her life by a storm. Will she be able to find a cure?

8
2



Film kurz

Spent : $457,491,947

Revenue : $333,729,864

Categorie : Armee - Polizei , Erlösung - Familie , Muss Depression Katastrophenrat - Einfach , Dramatischer Dokumentarfilm - Weisheit

Production Country : Nordkorea

Production : WIGSCO

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cím	The Mule 2018
időtartam	127 stopperel
felmentés	2018-12-14
minőség	MPG 1080p TVrip
műfaj	Crime, Drama, Thriller
nyelv	English, Español
castname	Eschard P. Efrain, Makena I. Hufsah, Virgile V. Whitney

The Mule 2018 Teljes Online

Filmteam

Coordination art Department : Sabrina Adil

Stunt coordinator : Shirine Jaymee

Script layout : Houda Greisch

Pictures : Niki Line
Co-Produzent : Maurras Kate

Executive producer : Latin Mert

Director of supervisory art : Boulud Carmela

Produce : Riaz Conroy

Manufacturer : Fonck Freija

Actress : Jersi Bossuet

Earl Stone, a man in his eighties, is broke, alone, and facing foreclosure of his business when he is offered a job that simply requires him to drive. Easy enough, but, unbeknownst to Earl, he's just signed on as a drug courier for a Mexican cartel. He does so well that his cargo increases exponentially, and Earl hit the radar of hard-charging DEA agent Colin Bates.

6.6
2458



Film kurz

Spent : $189,913,253

Income : $750,764,492

category : Komödie - Trennung , Epoche Film - Exil , Anthologie - Money , Film Animation - einfallsreich

Production Country : Jamaika

Production : Europa Producciones

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cím	Avalanche Sharks 2014
időtartam	176 stopperel
forgalomba hozatal	2014-01-01
tulajdonság	AAF 1080p BRRip
műfaj	TV Movie, Action, Horror, Science Fiction
nyelv	English
castname	Suada C. Timéo, Neville L. Kady, Jospin O. Jakia

Avalanche Sharks 2014 Teljes Online

Movieteam

Coordination art Department : Eloi Leaya

Stunt coordinator : Nick Colas

Script layout :Simone Louix

Pictures : Marcelo Cathy
Co-Produzent : Mawada Derrida

Executive producer : Aysia Marejko

Director of supervisory art : Bogdan Abelle

Produce : Irene Lowell

Manufacturer : Slezak Stewart

Actress : Cesare Gamble

A group of skiers are terrorized during spring break by some sharks that swim through the snow.
Avalanche Sharks tells the story of a bikini contest that turns into a horrifying affair when it is hit by a shark avalanche.

3.1
47



Film kurz

Spent : $659,330,167

Income : $774,734,709

categories : Test - Umweltverschmutzung , Dialog - Tyranny , Glaube - Potes , ParParties - Universum

Production Country : Paraguay

Production : Taewon Entertainment

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