#2010films

[adamwatchesmovies]

Rare Exports: A Christmas Tale (2010)

Rare Exports: A Christmas Tale is undoubtedly the strangest Christmas film I’ve ever seen. Blending holiday horror, a coming-of-age comedy, and the straight-up bizarre with its own Santa Claus mythology, this is the kind of story that you’d be crazy to green-lit but in practice inexplicably works.

In Finland, a research team has been drilling inside Korvatunturi, a mountain supposedly housing Santa Claus. After uncovering something deep in the earth, Pietari (Onni Tommila) observes strange footprints in the snow. Soon after, his father (Jorma Tommila) discovers an old man (Peeter Jakobi) with a long white beard that couldn’t possibly be Santa Claus… could he?

Only a mind as demented as writer/director Jalmari Helander could come up with Rare Exports, which means you have no way of predicting what’s coming next. You know there’s something buried in that mountain. Presumably, it’s related to the naked old man they've discovered but from there, it could go ANYWHERE. You’re not even sure what kind of movie this is and just when you think you’ve got the genre pinned down, it’ll switch. Inexplicably it all fits together.

Part of what makes this movie such a treat is how un-Hollywood it is. The mythology we’re introduced to is unlike anything we’ve heard before but it’s so quirky and off-beat it seems legitimate, like it was dug up out of some old Finnish version of Grim’s Christmas fairytales or simply what the kids over there believe. You can see the path another filmmaker would’ve taken like fresh tracks in the snow and all of them would’ve led somewhere you’ve seen before. This deliberately buckles your expectations in so many ways. Here’s an example that gives nothing away; there are no women in this film. We know they exist but you don’t see a single one. Is it just the way things turned out? Could be. I’m leaning towards it being a deliberate decision to put us just a little bit off-center, to keep us guessing.

And then, things take another loony turn. You were so busy figuring out what the deal with that old man was, whether Pietari’s dad was a villain or not, what the young boy needed to do to keep safe, what role the wild reindeer in the woods play in all this… when all the clues that were dropped earlier in the movie add up to this revelation that makes your jaw drop. Then, a tonal shift. Then, another. Somehow, the magic of the holiday, the childlike enthusiasm of this nutty movie blend it all together while keeping them separate. This movie has gore and murder but it’s also weirdly sweet and cheery. You’re not even sure if you’re reading it all correctly and then, you get an explanation for that end title. I’ve never seen anything like it.

Rare Exports: A Christmas Tale is best enjoyed when you know as little about it as possible. It’s darkly comic and gruesome but never feels excessive or mean-spirited despite its revisionist origin of Santa Claus There’s fairytale wonder present that gives it a whole lot of charm when you’re not gnawing on your fingernails like they’re gingerbread men. Because its story is so fresh and original, because it covers so many bases, I could easily see it as the kind of demented gem you’re drawn back to annually. (Original Finnish with English subtitles, December 11, 2020)

[nonbinary-nature-lover-jeri]

The Karl G. Jansky Very Large Array (VLA) is a centimeter-wavelength radio astronomy observatory located in central New Mexico on the Plains of San Agustin, between the towns of Magdalena and Datil, ~50 miles (80 km) west of Socorro. The VLA comprises twenty-seven 25-meter radio telescopes deployed in a Y-shaped array and all the equipment, instrumentation, and computing power to function as an interferometer. Each of the massive telescopes is mounted on double parallel railroad tracks, so the radius and density of the array can be transformed to adjust the balance between its angular resolution and its surface brightness sensitivity. Astronomers using the VLA have made key observations of black holes and protoplanetary disks around young stars, discovered magnetic filaments and traced complex gas motions at the Milky Way's center, probed the Universe's cosmological parameters, and provided new knowledge about the physical mechanisms that produce radio emission. The VLA has appeared repeatedly in American popular culture since its construction. *The VLA was featured in Carl Sagan's 1980 documentary Cosmos: A Personal Voyage. * The VLA is present in the 1984 movie 2010: The Year We Make Contact, as the location where Dr. Floyd and Dimitri Moiseyevich discuss the upcoming missions to Jupiter. * The VLA is present in the 1997 movie Contact, as the location where the alien signal is first detected. * The VLA features in plans to save the world from satellites being pulled from orbit in the second volume of the comic book series G.I. Joe: America's Elite (2005-2008). * British artist Keith Tyson created a 300 piece sculpture called Large Field Array (2006-2007) named after the VLA. * In the 2009 science-fiction film Terminator Salvation, the VLA is the location of a Skynet facility. At the beginning of the film the site is attacked by Resistance forces. The video was tweeted by UNM to highlight their stop at the VLA while they were on a New Mexico road trip with the University’s President. . #VeryLargeArray #VLA #2010Film #ContactFilm #PlainsOfSanAgustin #RadioTelescope #NewMexicoTrue #NewMexicoTravel

[cinfilmleri2]

The Ward - Koğuş Türkçe Dublaj & Altyazılı (2010)

Tür: Korku, Gerilim, Gizem, Psikolojik IMDb: 5.8 Sinemalar: 7.2 Ülke: ABD Süre: 88 dk.

İZLE; https://www.cinfilmleri2.com/the-ward-kogus-2010-filmi-izle/

#film #sinema #movies #horror #korku #gerilim #gizem #psikolojik #korkufilmi #filmizle #2010film #korkufilmleri #fullhdfilm #filmtavsiyeleri #filmtavsiyesi #filmönerileri #vizyonfilmleri #filmkeyfi #sinemakeyfi #Koğuş #TheWard #AmberHeard

[adamwatchesmovies]

The King’s Speech (2010)

I’d always meant to see The King's Speech but never found the right mood, crowd, or time until today. I wish I could go back to get myself to see it sooner. Its story completely enraptures you, everyone delivers fantastic performers, and it offers many memorable moments throughout. Even though it’s "only" a movie about people talking it’s as exciting as a bomb going off.

Prince Albert, Duke of York (Colin Firth) suffers from a terrible stammer. He’s tried everything to get over it, but has given up. With the advent of radio and increasing responsibilities as his brother Edward (Guy Pearce) shows himself unfit to rule, Albert is convinced by his wife Elizabeth (Helena Bonham Carter) to see Lionel Logue (Geoffrey Rush), an Australian speech therapist.

There’s almost too much to take in from a single viewing. Firth won the Academy Award for best Actor so obviously you want to pay attention to him but he's just one among many. Geoffrey Rush and Helena Bonham Carter are excellent here. They feel like real people with unique flaws, dreams, and quirks. When the camera isn’t on them, you know their lives go on. Then, there’s the cinematography. It's great but not in obvious ways. This movie is all about dialogue and characters. The camera sneaks in to enhance the mood, by giving you low shots to emphasize how daunting a task might be, or framing the characters in a way that allows you to understand how they feel on the inside. I wish I could tell you about the music, the sets, and the period-accurate costumes but honestly, they all blend in so well with the rest of the film I couldn’t notice them. The professionals working behind the scenes did such a good job you forget it was all constructed for the film and that in another world, it might not have been there.

When The King's Speech ended, I was wondering when the next scene was going to begin. At 118 minutes, it flies by like nothing. You desperately want a sequel because the story of this soon-to-be-ruler and this speech therapist is filled with every emotion imaginable. It makes you realize how hungry you were to see greatness. We aren't getting a “Part II"  but that’s ok. There’s good re-watch value here. I’d love to be able to memorize some of the lines in this movie for fun or to isolate one particular element and focus my attention upon it.

I know some of you might be thinking “People talking? I get enough of that at work”. Consider that you’ll be inspired, delighted by the relationships that develop, and that it’s a tremendous crowd-pleaser that’s so accessible and so delightful strings were pulled so that the R-rating was toned down to a PG-13 despite the deluge of profanities throughout. Also, consider that you’re a damn fool and that you’re doing yourself a disservice by skipping out on it. I had high hopes for The King’s Speech. It still took me by surprise. I love his movie. (On Blu-ray, January 15, 2016)

[adamwatchesmovies]

Going Postal (2010)

I’m certain that as a book, Going Postal worked fabulously. As a made-for-TV movie, I’ll also grant it that it looks splendid and works… until the second half, where the loony developments, over-the-top characters, and illogical actions make it a film that's hard to digest. Or maybe I'm wrong. Something about it makes me want to give it a closer look...

Set in a fantasy world containing werewolves, golems, wizards, and more, Moist von Lipwig (Richard Coyle) is a con artist by trade. After being apprehended by the authorities, he is sentenced to re-establish the capitol’s post office - or die. Moist discovers that the snail mail’s competitor - a system of towers that convey messages using light - isn't going to let this "new" competitor start easy.

The ways Moist finds to make the post office relevant are a lot of fun. He revolutionizes the program through a series of clever inventions. I'd tell you what they are, but that would be spoiling the best parts of the film. With him being forced to work with a crew of bizarre characters, there are many laughs throughout. The weirdest and funniest of which is Mr. Pump, a cool-looking clay man voiced by Nicholas Farrell.

The problems with Going Postal begin in its second half. The more logic you apply to this film, the less it makes sense. This is a classic John Henry story. The post office is antiquated but nonetheless determined to take on modern technology. The system of lights and mirrors is this universe’s equivalent to email or the telephone. That’s where the film's seams unravel. There are a few reasons to choose printed messages instead of the alternatives and “Going Postal” never uses these to sell you on Moist’s plight. Instead, it resorts to making the villain of the film, Reacher Gilt (David Suchet) the dimmest, most transparently evil, and most one-dimensional baddie you could write. That sort of choice can work when the film is self-aware. An obvious resolution that's missed during the conclusion, the kind that could’ve allowed our heroes to triumph in their own way, tells me it's just a blunder, not a deliberate choice.

I could get over the conclusion and logical inconsistencies but they're simply the final nails in the coffin. On top of these, there's the unconvincing romance, the truly idiotic behavior by the villains (many of which create plot holes), the characters that come out of nowhere, the others that disappear from the film midway through with no explanation. I'd forgive them but the film lasts a whopping 3 hrs +. I know it aired in two parts originally but you won’t know that if you buy the DVD. There's no reason for that excessive a running time and that sloppy ending. Apparently, there are no police in this world because when our heroes find conclusive evidence that would get anyone arrested and hung by the neck until dead, they just keep it to themselves.

If you have read Terry Pratchet’s Going Postal this miniseries/movie is for you. You’ll be delighted to see the characters brought to life and enjoy all the little references to Pratchett's other works. If you haven’t, I don’t know how accessible this piece is. Despite this, I’m not going to call it bad. I get the feeling that this is the sort of film that grows on you. (On DVD, November 4, 2016)

[adamwatchesmovies]

Superman/Batman: Apocalypse (2010)

Superman/Batman: Apocalypse could have been so much more than this. While superhero fans will probably enjoy this story, it never rises above the mediocre source material.

A sequel to Superman/Batman: Public Enemies, the story begins when a meteorite impacts Gotham City harbor. From the crater emerges Kara Zor-El (voiced by Summer Glau), Superman’s lost cousin. Batman (Kevin Conroy) is suspicious. Superman (Tim Daly) is overjoyed. When the evil Darkseid (Andre Braugher) kidnaps and brings her to his hellish homeworld of Apokolips, Batman, Superman, Wonder Woman (Susan Eisenberg), and former Apokolips resident Big Barda (Julianne Grossman) embark on a rescue mission.

To its credit, this is a faithful adaptation of the graphic novel. While Michael Turner's artwork is simplified, you can still recognize his style. All the characters, plot points, and battles are preserved. If you’re a fan of the book, you’ll be pleased with this story.

Therein lies the problem, however. This story is filled with flashy moments that make little sense. A perfect example is a scene that pits Wonder Woman, her Amazon sisters, Batman, and Superman against an army of Doomsday clones. Remember Doomsday? Introduced in the 1992 Death of Superman storyline? How cool is it to see hundreds of him? Not at all. When the monster shows up once, fights Superman to the death, that’s epic. When both are resurrected and fight a second time, the stakes are diminished. A hundred Doomsdays is just silly. Doubly silly when you realize it's the same model copy-pasted over-and-over with more than a few layering errors on-screen.

Too many story decisions don't hold up under scrutiny. Why would Darkseid get into a fistfight with Superman? He’s a god! Isn’t close combat beneath him? What his armies are for? Why do Wonder Woman and Batman immediately begin conspiring against their friends instead of talking to them? Just so we could get more action sequences?

There's no effort to rework or polish the story originally penned by hit-or-miss Jeph Loeb. Once accustomed to Earth, Supergirl proves herself a bore by shopping for clothes and shoes, by complaining that she's broken a nail. She's simply a gender-swapped version of Superman with stereotypical female attributes slapped on. If you think they'll resist an opportunity to overly sexualize her, you're wrong.

While you'll get a kick out of hearing Conroy, Daly, Eisenberg, and Ed Asner (who voices Granny Goodness) return, the voice acting is another miss. Andre Braugher is awful as Darkseid, having no presence or menace whatsoever. Inexplicably giving the lord of Apokolips the ability to fly doesn't compensate. All it does is create a bunch of plot holes during the conclusion. At least the action scenes - despite being utterly ridiculous - are kind of cool and well done.

Less discriminating comic book fans will not dislike the film as much as I did. I saw the sequences with Wonder Woman and Big Barda - who are well developed and never feel like they’re weaker or less valuable than their male counterparts - and glimpsed at what the film could have been. With a story that tries too hard to be cool, a villain that's as intimidating as a kitten, and a story that's mediocre at best, you'll be more entertained by the Green Arrow short included on the DVD/Blu-ray than the main feature. There are some good moments in Superman/Batman: Apocalypse but this may be the weakest of the DC Animated films. (On Blu-ray, July 22, 2015)

[adamwatchesmovies]

Batman: Under the Red Hood (2010)

If you need a Batman fix and you’ve begun to get a little tired of watching and re-watching the live-action films, give this animated movie a shot. Just because you’re not going to see actors on-screen doesn’t mean this movie is simple, or for kids.

Based on the Under the Hood storyline by Judd Winick (who wrote the screenplay) and Doug Mahnke, a new criminal has arrived in Gotham City. The Red Hood (voiced by Jensen Ackles) is brutally eliminating many of the criminals Batman (Bruce Greenwood) has struggled against for years. This pushes criminal boss Black Mask (Wade Williams) to desperate measures.

This film wastes no time. It assumes you know Batman, the Joker (John DiMaggio), Alfred (Jim Piddock), and the rest. It comes in guns blazing but doesn't neglect what is required to make the film good. The characters are plenty developed, and in ways that you don’t usually see in superhero stories. In this tale, Batman has been fighting crime for many years. The mistakes he's made in the past are weighing heavily on him. The way he and his former protege Nightwing (Neil Patrick Harris) interact, you can tell something about this case bothers him. The Red Hood is such a big threat nor only physically but psychologically that you're kept on edge. Even though I was familiar with the source material, I still felt uncertain about where things would go.

The action scenes are particularly well done. When I see a fight brought to life through animation, I want to see stunts and moves that would require stuntmen hours of rehearsal and buckets of special effects to make it look genuine. These combat scenes are spectacular. Batman, his allies, and his opponents feel like they're bringing their A-game because the animators pulled all the stops to give us impactful hits, daring leaps, and well-coordinated moves.

Obviously, Batman's the star of the show but director Brandon Vietti doesn’t shortchange everyone who surrounds him. A personal favorite is Black Mask, whose absurdly short temper makes him memorable and still feels threatening even when he makes you laugh. Plus, it's cool to see a character who doesn't usually get time in the spotlight. It would've been obvious to make someone like Two-Face or the Penguin be the victim of Red Hood's attacks but by having a lesser-known villain, you can reinvent or do something new with them. He’s no holy grail. Could this mean he'll end up on the Red Hood’s trophy wall?

On an emotional level, the story has an impact, particularly as we dig deeper into what makes Red Hood tick. Under the Red Hood is intelligently written with an understanding of how humans work, particularly ones as complex as Batman and his supporting characters. In several ways, it even improves the material at points by streamlining the story.

I only have a few minor criticisms, such as a gang of assassins that could've been swapped for much cooler, lesser-known characters and certain scenes taken out of the well-known Death in the Family story arc who are tweaked for no significant reason. As a whole, these are nitpicks. Batman: Under the Red Hood is a superior direct-to-video film that will impress those who pick it up. (On Blu-ray, April 7, 2015)

[adamwatchesmovies]

The Debt (2010)

Everyone loves a good thriller and if it involves a heist, a memorable villain, and some white-knuckle moments, it only gets better. The intensity you feel watching The Debt drops a bit low during the conclusion but otherwise, it’s a tight,  exciting film.

The film is split into two parts, the first of which happens in 1965, and the second in 1997. In 1965, Rachel Singer (Jessica Chastain), David Peretz (Sam Worthington), and Stefan Gold (Marton Csokas) are on a mission on the behalf of Mossad, Israel’s Institute for Intelligence and Special Operations. Their target is Dieter Vogel (Jesper Christensen), a Nazi war criminal. They've got to get close, take him down, and bring him out of Germany to Israel where he will face justice. In 1997, we learn what they told the world... wasn't entirely true. Helen Mirren, Ciaran Hinds, and Tom Wilkinson play the older versions of Rachel, David, and Stefan.

What this film does best is offer a despicable villain you can't get enough of. You're disgusted by what Vogel did during World War II, but he has a way with words that almost makes him charming. You want to get a closer look and that's exactly what he's counting on. You don't want him to get away. You want him to get what he deserves but you're in no rush. You want to hear what he has to say next. Marton Csokas is excellent in the role because he plays both the monster and the new identity he's crafted expertly. He switches effortlessly between the two and every word he speaks is an alluring poison.

Add to this the film's central conundrum. Let’s say you found… I don’t know, a videotape of Mother Teresa shoplifting from a dollar store that got swallowed up by an earthquake minutes later. Is the truth more important than preserving the image of an inspirational person if the said image has changed the world for the better? The way the lie about what happened all those years ago has affected the agents' lives since, the way truth can be bent, the way it's divulged - or kept secret by the group - is fascinating. You're not sure what you would do, which is what makes the ending a letdown of sorts. There's no ambiguity in the conclusion and a clean ending is nice but not every time.

The plot focuses mostly Rachel past and present. Her unique viewpoint adds a lot to the story and makes her the most interesting of the three heroes. In 1965, she had something extra to prove. Because she was the only woman on the mission and because her sex was the reason she was selected. Chastain and Mirren have the "look" necessary to bring the character to life and both do an excellent job showing the toll of this lie they've propagated.

The Debt is a thriller that plays better the less you know about it. This does hamper its re-watch value, unfortunately. This just means you'll have to space the viewings sufficiently enough for you to forget some of the details, which is completely fine. Fan of spy thrillers - the kind where we deal with moral ambiguity, subterfuge, and secrecy rather than fast cars and dozens of bullets - will greatly appreciate its twistiness, characters, and central dilemma. (On DVD, Aug 2, 2015)

[adamwatchesmovies]

Beginners (2010)

Although the events in Beginners are far removed from my reality, it remains relatable and emotional. The film has an earnest quality that's easy to latch onto.

After the death of his father, Oliver (Ewan McGregor), tells the audience how Hal (Christopher Plummer) came out of the closet after Oliver's mother passed. Married to a woman for most of his life, Hal completely redefined himself, which left Oliver unsure of his feelings towards him. The film follows Hal's new life as an openly gay 75-year-old, his death, and a growing relationship between Oliver and Anna (Mélanie Laurent) as he slowly comes to terms with everything that happened.

Sometimes this movie seems a little weird for weirdness' sake but overall, it works. Not sure why we needed a dog who “talks” using subtitles. Normally it would bother be. Not here. Perhaps because of the way it injects humor in the story. When you're trying to deal the kind of baggage Oliver has, a silent confident is just what you need but it makes you wonder what they would say if they could respond.

This movie captures what it's like to look through old family photos. Sometimes you can hardly recognize the people inside these snapshots. They don't look and aren't acting like the people you know. Your parents are young - sometimes younger than you are now - the clothes are different, the company around them is different. You're just as unrecognizable. Did the person who took the photo know someday you'd be looking at it? What I’m trying to say is that it's a reflective film. Oliver's father is a different person now... or is he? There’s no doubt the change is for good. Hal is much happier but learning your father is gay makes you rethink everything from the beginning.

There’s a good mix of emotions throughout. The death of a family member, relationships coming together and then falling apart, the realization that you didn't know someone you knew your entire life. It's sad but Christopher Plummer will pick you up and make you laugh many times. Something is endearing about an old man discovering the gay club scene for the first time. It creates a bittersweet package that's "just like life", you know?

I liked this movie. Quite a bit. The performances are excellent. Not just from the seasoned actors like Christopher Plummer and Ewan McGregor, but from everyone. Also notable is the score. It brings a lot of emotion to the film's climax without feeling melodramatic or phoney. While teenagers may find it hard to relate to the characters due to their age, they would also draw a lot from it. You're at the point in your life when you can finally truly choose to become the person you want to be. This film shows you both what it could be like if you deny your true self, and how good it it feels to embrace who you are. Regardless of who you are or at what point in your life you may be, Beginners is an introspective and rewarding story. (On DVD, April 4, 2015)

[nonbinary-nature-lover-jeri]

The Karl G. Jansky Very Large Array (VLA) is a centimeter-wavelength radio astronomy observatory located in central New Mexico on the Plains of San Agustin, between the towns of Magdalena and Datil, ~50 miles (80 km) west of Socorro. The VLA comprises twenty-seven 25-meter radio telescopes deployed in a Y-shaped array and all the equipment, instrumentation, and computing power to function as an interferometer. Each of the massive telescopes is mounted on double parallel railroad tracks, so the radius and density of the array can be transformed to adjust the balance between its angular resolution and its surface brightness sensitivity. Astronomers using the VLA have made key observations of black holes and protoplanetary disks around young stars, discovered magnetic filaments and traced complex gas motions at the Milky Way's center, probed the Universe's cosmological parameters, and provided new knowledge about the physical mechanisms that produce radio emission. The VLA has appeared repeatedly in American popular culture since its construction. *The VLA was featured in Carl Sagan's 1980 documentary Cosmos: A Personal Voyage. * The VLA is present in the 1984 movie 2010: The Year We Make Contact, as the location where Dr. Floyd and Dimitri Moiseyevich discuss the upcoming missions to Jupiter. * The VLA is present in the 1997 movie Contact, as the location where the alien signal is first detected. * The VLA features in plans to save the world from satellites being pulled from orbit in the second volume of the comic book series G.I. Joe: America's Elite (2005-2008). * British artist Keith Tyson created a 300 piece sculpture called Large Field Array (2006-2007) named after the VLA. * In the 2009 science-fiction film Terminator Salvation, the VLA is the location of a Skynet facility. At the beginning of the film the site is attacked by Resistance forces. The video was tweeted by UNM to highlight their stop at the VLA while they were on a New Mexico road trip with the University’s President. . #VeryLargeArray #VLA #2010Film #ContactFilm #PlainsOfSanAgustin #RadioTelescope #NewMexicoTrue #NewMexicoTravel https://www.instagram.com/p/B1DQqFgAd45/?igshid=6862qs93yl0q

[cinfilmleri2]

The Crazies – Salgın Türkçe Dublaj & Altyazılı 1080p izle (2010)

Tür: Korku, Gerilim, Aksiyon IMDb: 6.5 Sinemalar: 7.7 Ülke: ABD Süre: 101 dk.

İZLE; https://www.cinfilmleri1.com/2019/03/29/the-crazies-salgin-izle-2010/

#film #sinema #movies #horror #korku #aksiyon #gerilim #gizem #korkufilmi #filmizle #2010film #korkufilmleri #fullhdfilm #filmtavsiyeleri #filmtavsiyesi #filmönerileri #vizyonfilmleri #filmkeyfi #sinemakeyfi #virüs #TheCrazies #Salgın