4k movies reviews
Les Miserables, the most anticipated event in cinematography in recent years, has had a very mixed, even contradictory reaction, on the one hand meeting expectations for acting and listening, but on the other, disappointing in its approach to the greatest novel and adaptation of the famous musical. The film’s creators included the original producers and screenwriters (Cameron Mackintosh, Alain Boublil, Herbert Kretzmer, Claude Michel-Schonberg), who created the cult musical in the mid-80s, which meant a fairly close to theatrical version. Of course, to realize an impressive two-volume book and intertwine it with musical elements (and successfully) is hardly a feasible task, but the producers felt that Oscar-winning Tom Hooper, who, in their opinion, has the right vision to make a successful production, would be up to the task. The principal roles were cast with Hollywood’s leading actors who sing and are familiar with musical theater, actors trying their hand at the subject of musicals for the first time, and actors who had previously worked in the original production of Les Miserables. But does such a talented and, most importantly, related to the theatrical production team imply the inexorable and undeniable success of the motion picture?

A musical-to-movie adaptation implies a variation of a theatrical production in order to portray it, so to speak, from a different perspective, using all the charms of cinema – opportunities that the stage does not have – while maintaining that theatricality and giving a new meaning to the musical side. However, there is hardly a verified recipe for a worthwhile musical film. The scriptwriters for “Les Miserables” (who, it has been said, are directly related to the original production) did an ambiguous job in developing the plot: despite the fact that they more than managed to fit all 50 (!) original songs, there was a palpable lack of screen time to reveal more events and story lines – a kind of gaps in the narrative, it seemed that everyone was in a hurry and clearly did not have time. For the sake of comparison, I’ll draw a parallel: about 70 pages of the book were rather superficially beaten in just 3-4 minutes. Of course, adaptations are meant to simplify the long dramatic mono/dialogs of the play (and the book too), but, for example, the second half of the movie was almost all filled with only musical numbers, continuously following one another, leaving no room for the same mono/dialogs. It can be assumed that the creators of the film decided to take such an extreme step to emphasize the musical component. As was known long before the premiere of the film, all the compositions were performed live on the set: with such an original approach, Hooper tried to achieve more sensuality, expressiveness and authenticity of musical numbers. However, this greatly affected the performance of the song (and this is not about the vocal abilities of the actors at all), for emotion and drama were brought to the fore, overshadowing the rich story each song tells.

Although there are no definite and rigorous aspects of musicals, and the whole style of directing is relative, it is difficult to call Hooper’s work a musical: it was a rapid kaleidoscope of rapidly changing acts and songs, the pace of the narration was very fast, making the narrative a little blurred. However, the emotional backdrop was masterfully created. Tom Hooper’s vision, delivered from the hand of cameraman Danny Cohen, was imbued with a haze of surrealism. The diagonal composition, the unstable shooting, the dynamic editing and the abundance of close-ups (especially during the musical numbers) created a sense of an unreal world, more like a nightmare with endless horror and suffocating despair. Most of the action takes place in the hours of darkness, but even the scenes under the sunlight are imbued with a kind of impending gloom. The atmosphere, imbued with despondency, bitterness of loss and the horrors of revolution, was also beautifully conveyed by the impressive sets, fine costumes, makeup and majestic music — that is, the secondary technical component.

As for the film’s ensemble cast, it’s safe to say that this is one of its major pluses. A Tony-winning singer, dancer and former Broadway actor, Hugh Jackman demonstrates a very different level of acting, selflessly approaching the role on such a large scale. His acting, from the vocal parts to the evolution of the character, was filled with power, confidence and conviction. Despite all the peculiarities of filming, Jackman managed to remain the backbone of the entire film, constantly capturing the audience’s attention with his believable performance, and becoming one of his main inspirations.

Another stunning inspiration of the picture was the incredible Anne Hathaway. To say that her performance was simply believable would not be quite right, for her portrayal of Fantine is another example of outstanding acting, when an actor empties himself and then, like a vessel, fills the feelings and emotions of the character, not playing him, but rather becoming him. Hathaway’s performance was imbued with depth and fragility, reflecting every nuance and every facet of the tragedy and hopelessness that haunted her character like an evil fate. And her rendition of ‘I dreamed a dream’, exposing all the pain that was killing Fantine from within, can safely be called one of the grandest and most mesmerizing variations ever performed, each chord intertwined with her words, a cry full of despair, and creating a unique atmosphere of tragedy of a broken dream.

As for the other actors, it is only worth saying that each of them fitted their character quite organically, thereby subtly framing the picture with expressive and strong characters, whether it was Cosette, played by the angelic Amanda Seyfried, Marius, played by Eddie Rayman (who, incidentally, has a Tony), the charming Samantha Barks, who is no stranger to playing Eponine, and, of course, the pair of M-d and Monsieur Tenardier, played by Helena Bonham-Carter and Sacha Baron-Cohen, who brought some humor to this dark epic. The only one who stood out from this rank ensemble was Russell Crowe, who looked a little awkward and even ridiculous as Inspector Javert.

In conclusion, it should be said that the film adaptation of the greatest musical Les Miserables turned out quite decent, presenting the performance with all its cinematic charms, for the sake of which, however, it was necessary to sacrifice such aspects of the picture as, for example, the plot. Having distinguished itself by its strong points, such as the musical component or a decent acting, the picture can safely expect many awards, which, by the way, it has already won. It is also worth noting that this film will undoubtedly become famous for the superb performance of the magnificent Anne Hathaway.

Info Blu-ray
Video
Codec: HEVC / H.265 (62.1 Mb/s)
Resolution: Upscaled 2160p
HDR: Dolby Vision, HDR10
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1

Audio
English: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 24-bit)
English: Dolby Digital 5.1

Subtitles
English SDH, Arabic, Bulgarian, Chinese (Cantonese), Chinese (Traditional), Czech, Danish, Dutch, Estonian, Finnish, French (Canadian), French (Parisian), German, Greek, Hebrew, Hungarian, Icelandic, Italian, Japanese, Korean, Latvian, Lithuanian, Norwegian, Polish, Portuguese (Brazilian), Portuguese (Iberian), Romanian, Russian, Spanish (Castilian), Spanish (Latin American), Swedish, Thai, Turkish.

Сообщение Les Miserables 4K 2012 появились сначала на 4К-MOVIES.BIZ.

4k movies reviews
It’s worth saying right away, dismissing all fears, that the third iteration of Fantastic Creatures holds up. At the level of the failed second part. The film, whose raison d’etre is completely inexplicable, barely barely reaches the record low bar dropped by its predecessor. “The Mysteries of Dumbledore” is a slap in the face to common sense, a vaudeville of bad taste and a pathetic attempt by a decent cast to give at least some filmic dignity to the proceedings. Assembled out of manure and sticks, the film has no clear idea, most of the scenes are completely random, it resembles a bad fanfic that miraculously got financing. The film lasts two and a half hours, during which nothing really happens; at the end you arrive at the same crooked-skewed status quo you were greeted with in the beginning. The dialogue is laughable, the suspense is absent, the attempts at humor are rudimentary (what are we talking about if the main gag is an excruciatingly drawn-out scene in an underground prison where Eddie Redmayne and Callum Turner deliberately wiggle their hips in front of crab-like critters). It’s such an incoherent and incoherent movie that it’s impossible to believe that one of its co-writers is a professional writer, a woman who makes her living telling coherent, fascinating stories. Both sequels to Fantastic Creatures show how Rowling wants to flaunt her ability to play not only in the field of adult novels but also in real political territory, but she manages inequality, war and chauvinism through the eyes of teenagers far better than the same problems through the eyes of adults. So far she has only managed to give away a direct reference to the Second World War in the previous part (in case the viewer is stupid enough not to catch the obvious allusions) and the most ridiculous story about elections in the magical community, where it is not even the wizards themselves but a wonderful deer that decide, in this one (here it is a mess, because all that matters is the fact of their presence in the story, for everyone to get shocked by a very “smart” parallel to elections in undemocratic countries). This is the level of direct-to-video films that are not worth the rental time. Some of the performers in the frame are pathetic to watch (Ezra Miller suffers most, with literally two or three solid scenes for the entire running time, and those are just grimaces, grimaces and frowns), and the (completely unnecessary) scene in Hogwarts, poorly drawn with, of course, the recognizable melody in the background, is like a mockery of the memory of the times when David Yates and Co. were at least pretending to try.

The Dumbledore Mysteries themselves, like The Crimes of Green DeWald, do not deserve a separate talk about themselves, so secondary, but they are quite revealing in the context of the entire Wizarding World media franchise – they demonstrate quite clearly the surprisingly chicken blindness of both the producers and Rowling herself as to why Harry Potter and everything associated with it is so popular. They apparently believe that the secret to success and long-lasting good fan memory is magic itself, the presence of wizards and bright flashes from wands. All that goodness is in abundance in “Fantastic Creatures,” but it’s not enough. Go to Pinterest, look up any Harry Potter mudboard, and you’ll realize that since the release of the second installment of ‘Deathly Hallows’ and the virtual end of the boy-who-survived-hegemony over the minds of an entire generation of children who have grown up, the main fuel for the enduring interest in this universe has been primarily the aesthetic of the story: castles, gloomy forests, parchment, ink, books, a certain dress code, star maps, unusual writing, hidden locations, and, most importantly, Britain in all its artistic manifestations. The Internet has given fans an incredible number of visualization tools, allowing you to literally transfer a magical story from the pages of the books in real life without looking like a cosplaying favorite heroes geek in a gown and striped scarves. The success of the first Fantastic Creatures was largely due to that very aesthetic side of things: familiar elements transferred to new artistic ground, but retaining the same atmosphere. Fans would have forgiven the sequel for any (albeit reasonably) silly script if it had obeyed any established rules of the game. Parts two and three are simply ugly, garish, tasteless, and lacking in any truly appealing shots. Having deprived the story of the advantage of a British location, the producers began jumping around haphazardly in locations, as if the names “Paris”, “Berlin”, “Bhutan” (!!!) alone were enough to make the viewer think of a whole magical world where there isn’t one. From the mysterious spells in pseudo-language only the fireworks of their magic wands remained, the parallel existence of two universes, Muggle and magical, attractive by the very idea that behind every wall of the city can hide its slanted Lane, dissolved in the diffusion of real locations and invisible, and the actress, playing Minerva McGonagall (yes, yes, the same gimmick with the character participating in the events before her birth), with an important look tells at the premiere how she practiced repeating the position of her hands when Maggie Smith held her wand in the frame, while herself appears only in one scene and her whole role is to stand for a few seconds in a doorway. “The Dumbledore Mysteries” is a triumph of parasitizing an entire subculture with its own characteristics that the creators don’t care about. So don’t spit in the well from which you draw your money – you might not make it to part four.

Info Blu-ray
Video
Codec: HEVC / H.265 (56.5 Mb/s)
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10
Original aspect ratio: 2.39:1

Audio
English: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 24-bit)
English: DTS-HD Master Audio 7.1 (48kHz, 24-bit)
English: Dolby Digital 5.1
French: Dolby Digital 5.1
German: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 24-bit)
German: Dolby Digital 5.1
German: Dolby Digital 2.0
Italian: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 24-bit)
Italian: Dolby Digital 5.1
Spanish: Dolby Digital 5.1

Subtitles
English SDH, French, German, Italian, Spanish, Cantonese, Danish, Finnish, Korean, Mandarin (Simplified), Mandarin (Traditional), Norwegian, Swedish.

Сообщение Fantastic Beasts: The Secrets of Dumbledore 4K 2022 появились сначала на 4К-MOVIES.BIZ.

4k movies reviews
Not being a fan of the Harry Potter universe, I nevertheless paid attention to “Fantastic Beasts” precisely for the reason that this film was announced as a different, different from the previous, display of the fantasy world of J.K. Rowling. In order not to dwell on this moment for a long time, I will say right away that in the Potterian I was always (except for the first part, perhaps) annoyed by the emphasis on teenage chemistry instead of something global and majestic, as well as too obvious borrowings from The Lord of the Rings. In addition, director David Yates failed to show us a decent ending. But at the box office, the last two films raised a decent amount, and as a result, Yeats was entrusted with a new film on the same universe. There were, of course, concerns, but it seems that now the director is at ease.

Maybe it’s a different location (New York in the 1920s instead of London in the 1990s), or maybe it’s all the same that we have been relieved of the foul-smelling clich?s that offend teenagers around the world. This film opens our eyes to an underground organization of magicians that has existed for hundreds of years. Quite frankly, the plot with a muddle wizard looking for his pets plugs the whole Potterian in the belt. Here we have four interesting characters at once – the magician Newt Scamander, the former Auror Tina, Queenie and the nemag (Muggle) Jacob Kowalski, who just wants to open his own bakery. The history of their intertwining life paths merges with the activities of Grindelwald, who is considered by many fans to be more powerful than Voldemort.

“Fantastic Beasts” touched upon some of the problems associated with most major Hollywood films – in places a stretched plot, dialogues not having a solid basis and, of course, a note of reverse racism – not a single African American among the villains, but almost not a single Caucasian among magicians (in the secondary acting composition, which is strange). Yes, it is immediately clear what the filmmakers were referring to, showing the confrontation between wizards and non-magi oppressors. If Fantastic Beasts had been released at least two years later, the allusions would have been even more obvious. But, fortunately, here all of the above is presented in a microscopic volume, so that almost does not affect the impression.

It is genuinely funny and enjoyable to watch the relationship between Jacob and Queenie. Perhaps this duet pulled out a good half of the film, filled with elements of … how to say … xenobiology, or something. All these fantastic animals, put in the title of the picture, look more like some kind of aliens or animals of the future than fabulous and mythical products of human fantasy. It’s a bit sad as I would love to see dragons, griffins and cyclops. In fairness, the griffin-like beast does appear here, but the special effects masters were clearly inspired by a real microraptor, not a legendary monster. Well, magic wands are classics, and duels with them turned out to be much more spectacular than we saw in the Potterian. And most importantly, for which I am grateful to Yeats – he finally removed this green melancholy from the color scheme, returning the predominance of blue tones, as was the case in “The Philosopher’s Stone” and “Chamber of Secrets”. This is not the case when a movie needs such a depressing mood.

See also: Harry Potter and the Sorcerer’s Stone 2001 4K

Info Blu-ray

Video
Codec: HEVC / H.265 (49.9 Mb/s)
Resolution: Native 4K (2160p)
HDR: HDR10
Aspect ratio: 2.40:1
Original aspect ratio: 2.39:1

Audio
English: Dolby Atmos
English: Dolby TrueHD 7.1 (48kHz, 24-bit)
English: DTS-HD Master Audio 5.1 (48kHz, 16-bit)
English: Dolby Digital 5.1 (448 kbps)
Spanish: Dolby Digital 5.1 (448 kbps)
Catalan: Dolby Digital 5.1 (448 kbps)

Subtitles
English SDH, Spanish, Croatian, Danish, Finnish, Greek, Norwegian, Slovenian, Swedish.

Сообщение Fantastic Beasts and Where to Find Them 4K 2016 появились сначала на 4К-MOVIES.BIZ.

4k movies reviews
The fact is that the Harry Potter universe has its own characteristics, and Newt Salamander films strictly follow them. The main ones are a thoughtful world of magic and a large number of characters. Harry’s friends, his enemies, friends of parents, parents of friends — all so different and contrasting, it was their complicated relationship that made Harry’s books rich and full-fledged, reading that you didn’t strive for the final, but plunged into the magical world, savoring every moment of him, and then with pain returned to reality.

While watching the films about Harry, we did not feel any discomfort from the abundance of characters, because we knew them well. But, “Fantastic Beasts has no literary source, and there was a difficult task, to re-create this whole “Santa Barbara. In the first part, we were presented with new heroes – this is their story and they will all go, to the end. From where so many disturbances, about the baker – it is not clear, Ron Weasley was much more useless.

In “Crimes of Green de Wald”, in contrast to the first part of the “fantastic creatures”, a lot of references to the Potterians, which is normal, since this is a prehistory, and connections should be. Characters like Flamel and Nagine are simply necessary because we know them. And Nyuhl and the green pod, overshadow even Dobby.

About the cast of this movie – great! All without exception. Especially Eddie Redmain – to play a geezer so that he seemed attractive is a rare gift.

About the plot. Interesting, dynamic, and furiously messed up! Although I personally understood everything, but someone, judging by the reviews, had problems.

Directed by David Yates – of course the villain, and for his adaptation of Harry Potter, he should be sent to Azkaban, but “Fantastic Beasts” – he took off much better. This film is very beautiful! Made gorgeous: magical Paris, truly – Magic! Yes, and in general, the expansion of geography greatly pleases.

What to expect from the continuation? I think that all lovers, except Albus and Gellert, will live happily ever after, and Jude Law and Johnny Depp will provide an epic denouement. Well, the final scene should be Dumbledore’s trip to an orphanage for the gloomy orphan Tom Reddl.

Because, well, we confess: both Newt and Green de Wald, and all kinds of Nyuhli, are simply obliged to become warming up before the story of Volan de Mort and at least 16+!

Info Blu-ray
Video
Codec: HEVC / H.265
Resolution: Native 4K (2160p)
HDR: Dolby Vision + HDR10
Aspect ratio: 2.40:1
Original aspect ratio: 2.39:1

Audio
English: Dolby Atmos
French (Canada): Dolby Digital 5.1
Portuguese: Dolby Digital 5.1
Spanish: Dolby Digital 5.1

Subtitles
English, French, Portuguese, Spanish, Arabic, Greek, Turkish

Сообщение Fantastic Beasts The Crimes Of Grindelwald 4K 2018 Ultra HD 2160p появились сначала на 4К-MOVIES.BIZ.

4k movie reviews
In the modern world of animation, cartoons like “Wild Ancestors” are piece goods. The very product that appears extremely rare, but the expectation of his arrival gives him some special charm. It’s especially nice when the goods go straight from their creator. A true and authentic plasticine product. He is valuable in itself an existence that has the same charm, but, to sorrow, from too high expectations, not felt so juicy and tasty as it seemed.

“Wild ancestors” seemed at first sight to be viewed as a story about the opposition of two epochs: the Stone Age and the Bronze Age. This could be an interesting story about the misunderstanding of people from different periods, for some of which new bronze technologies are alien, and for the second, the wild habits of their neighbors are alien. Interesting, with the permission of the tautology, historical history, filled with depth and seasoned with good humor, in a plasticine frame – would allow to re-build Aardman creations to the rank of cult and beloved by many, as was in his time with “Escape from the chicken coop” or lovers of cheese by Wallace and Thunder. Unfortunately, “Early Man 4K” only give rudiments of such depth, eventually becoming primarily a tape about football, which contains a banal and familiar story about the strength of the team spirit and the victory of good guys over bad ones. A painfully familiar story, where the outcome is known at the beginning, it will be difficult to surprise the viewer. However, the new creation by Aardman does not leave disappointed.

The charm of plasticine animation, of course, again captivates: in its own way, cute characters with even more cute animals (how not to love the prehistoric boar is a mystery). Among the usual computer animation, Nick Park, which remains true to itself, feels like a breath of fresh and clean air. Something unusual and catchy. And in this wonderful plasticine thing the Park places a well-known sports drama: here is the team of losers, which will definitely win in the end, and there will also be training sessions that will play their part, there are also narcissistic, steep opponents and many other things that have already been seen a lot of times. And this is perhaps the main disadvantage of the “Early MAn Ultra HD”: for verification, they turn out to be a completely banal story that does not offer anything new, but acts on beaten and habitual moves, missing an excellent opportunity to show the clash of eras. The Park decides to transfer modern trends both in life and in life and purely football things in a prehistoric way, leaving them equally recognizable. English movie Ultra HD 2160p for download. But it can not be denied that all this works. The tape is filled with light and effective humor, deriding, for example, serious things in the face of corruption and money craving, and not forgetting about humor more simple, plenty of fooling around with stones, rabbits and massage. And such a ridiculous foolishness can not but bribe, let here and there are scenes of humor more vulgar that look somehow not very suitable for this atmosphere. But by the result we get that “Wild ancestors” work as a funny and enjoyable cartoon for everyone, and as a spirit-lifting sports band, where to empathize with the main ridiculous savages willy-nilly turns out (really a boar for sure), and in the final match under a mountain of puns there is only and cheering for the Stone Age team, languishing in anticipation of the decisive goal.

“Early Man 4K” is a sweet, soulful and painfully simple story, beyond which it’s not boring to spend time at the screen. Undoubtedly, it’s a pity that Park did not dare to fill up its new piece creation with something more, but I do not want to blame him for it, because there was a kind, easy and funny tape that provoked a sincere smile and laughter. Well, the enjoyment of the animation has not gone away. Of course, it’s a matter of taste: someone with bulging teeth and lurid noses will seem repulsive, but those who like it, and football fans, should not remain very disappointed with the new creation of the famous studio. A new piece of goods, which you need to enjoy, and if you still manage to have a good time watching it, even the most banal story will cause only the most loyal and pleasant feelings.

Info blu-ray
Video
Codec: HEVC / H.265
Resolution: Native 4K (2160p)
HDR: Dolby Vision + HDR10
Original aspect ratio: 1.85:1

Audio
English: Dolby Atmos
English: Dolby TrueHD 7.1 (48kHz, 24-bit)

Subtitles
English SDH

Сообщение Early Man 4K 2018 Ultra HD 2160p появились сначала на 4К-MOVIES.BIZ.

Story Movie
Jupiter Jones was born under a night sky, with signs predicting that she was destined for great things. Now grown, Jupiter dreams of the stars but wakes up to the cold reality of a job cleaning other people’s houses and an endless run of bad breaks. Only when Caine Wise, a genetically engineered ex-military hunter, arrives on Earth to track her down does Jupiter begin to glimpse the fate that has been waiting for her all along – her genetic signature marks her as next in line for an extraordinary inheritance that could alter the balance of the cosmos.

Jupiter Ascending 4K Review
‘Jupiter Ascending’ was panned (I suspect) by the same small brains that only love to slag by comparison. I’m thinking of “Kings Solomon’s Mines” in the shadow of “Raiders”. I’m thinking of “Fifth Element” being compared to ‘Star Wars’. I’m thinking “new Batman” to “old Batman”. And on, and on.

Well, a fickle fie on that that.

“Jupiter Ascending” is fun, is spectacular, and is in no way sillier than the original ‘Star Wars’ (as in episode IV). Yes, the gravity- surfing boots were hokey, but no more than light sabers or (Oh) The Voice of Obi from Beyond.

I mean, and flipping’ heck! Does everything in cinema have to be mean and retro and grungy and full of old failing and aging superheroes with bad knees and depression? This all getting so tired so fast.

I loved this film precisely because it was full of meaningless gloss, and bless the Matrix Guys for not making another self-referential piece of pablum. It’s fun. It’s stupid. It has nothing to tell us about the meaning of life.

It’s not Deep, Portentous and Meaningful tripe like ‘Avatar’ and ‘After Earth’. Thank goodness!

‘Jupiter Ascending’ is A-grade Space Opera and let’s just leave it at that.

Get a life, critics.

Info Blu-ray

Video
Codec: HEVC / H.265 (61.7 Mb/s)
Resolution: Upscaled 4K (2160p)
HDR: HDR10
Aspect ratio: 2.40:1
Original aspect ratio: 2.39:1

Audio
English: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 24-bit)
English: DTS-HD Master Audio 7.1 (48kHz, 24-bit)
English: Dolby Digital 5.1
French (Canada): Dolby Digital 5.1
French: DTS-HD Master Audio 5.1
German: DTS-HD Master Audio 5.1
Italian: Dolby Digital 5.1
Japanese: Dolby Digital 5.1
Spanish: Dolby Digital 5.1
Spanish (Latino): Dolby Digital 5.1
Portuguese: Dolby Digital 5.1
Czech: Dolby Digital 5.1
Hungarian: Dolby Digital 5.1
Polish: Dolby Digital 5.1
Russian: Dolby Digital 5.1
Thai: Dolby Digital 5.1
Turkish: Dolby Digital 2.0

Subtitles
English SDH, French, German SDH, Italian SDH, Portuguese, Spanish, Arabic, Czech, Danish, Dutch, Finnish, Hebrew, Hungarian, Korean, Mandarin (Simplified), Mandarin (Traditional), Norwegian, Polish, Russian, Swedish, Turkish, Japanese.

Сообщение Jupiter Ascending 4K 2015 Ultra HD 2160p появились сначала на 4К-MOVIES.BIZ.