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tremparaparis-2017filme · 4 years

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15h17 - Trem para Paris filme : The 15:17 to Paris é um filme de drama estadunidense de 2018 dirigido por Clint Eastwood e escrito por Dorothy Blyskal, baseado na autobiografia The 15:17 to Paris: The True Story of a Terrorist, a Train, and Three American Soldiers, de Jeffrey E. Stern, Spencer Stone, Anthony Sadler e Alek Skarlatos. Estrelado pelos autores da obra original, estreou em seu país de origem em 9 de fevereiro.

Elenco: Spencer Stone - ele mesmo[5] Anthony Sadler - ele mesmo[5] Alek Skarlatos - ele mesmo[5] Mark Moogalian - ele mesmo[6] Isabelle Risacher Moogalian - ela mesma Judy Greer - Joyce Eskel Jenna Fischer - Heidi Skarlatos Ray Corasani - Ayoub El-Khazzani Chris Norman - ele mesmo P. J. Byrne - Mr. Henry Tony Hale - Coach Murray Thomas Lennon - Michael Akers Jaleel White - Garrett Walden Vernon Dobtcheff Matthew Barnes

filme dathe: Direção Clint Eastwood Produção Clint Eastwood Jessica Meier Tim Moore Kristina Rivera Roteiro Dorothy Blyskal Baseado em The 15:17 to Paris: The True Story of a Terrorist, a Train, and Three American Heroes, de Jeffrey E. Stern Spencer Stone Anthony Sadler Alek Skarlatos Música Thomas Newman Christian Jacob Cinematografia Tom Stern Edição Blu Murray Companhia(s) produtora(s) Warner Bros. Pictures[4] Village Roadshow PicturesMalpaso Productions Distribuição Warner Bros. Pictures Lançamento 9 de fevereiro de 2018 Idioma língua inglesa

15h17 - Trem para Paris filme completo dublado: 8 de março de 2018 / 1h 34min / Drama, Suspense Direção: Clint Eastwood Elenco: Spencer Stone, Anthony Sadler, Alek Skarlatos Nacionalidade EUA

SINOPSE E DETALHES Quando um terrorista invade o trem n° 9364 da Thalys a caminho de Paris, três amigos norte-americanos - Anthony Sadler, Alex Skarlatos e o piloto da Força Aérea Spencer Stone - se esforçam para imobilizar o extremista, armado com um fuzil AK-47, e evitar uma enorme tragédia.

Título original: The 15:17 to Paris Distribuidor: WARNER BROS.

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thecinescopepodcast · 7 years

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Today 3 - The 15:17 to Paris

In Episode 3 of Cinescope Today, Chad and Seth talk about The 15:17 to Paris!

The Cinescope Podcast on iTunes

Check out the latest episode of The Cinescope Podcast!

#alek skarlatos #anthony sadler #chris nroman #christian jacob #clint eastwood #dorothy blyskal #isabelle risacher moogalian #jaleel white #jeffrey e. stern #jenna fischer #judy greer #mark moogalian #p.j. byrne #ray corasani #spencer stone #the 15:17 to paris #thomas lennon #thomas newman #tony hale

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tremparaparis-filmehdportu · 4 years

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▷▷ASSISTIR 15h17 - Trem para Paris FILME COMPLETO DUBLADO [2018] ONLINE DUBLADO E LEGENDADO EM HD GRÁTIS

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15h17 - Trem para Paris filme completo dublado: 8 de março de 2018 / 1h 34min / Drama, Suspense Direção: Clint Eastwood Elenco: Spencer Stone, Anthony Sadler, Alek Skarlatos Nacionalidade EUA

Título original: The 15:17 to Paris Distribuidor: WARNER BROS.

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#trem para paris filme completo dublado #15h17 trem para paris filme completo dublado #trem para paris #15h17 trem para paris

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megacine-tremparaparis · 4 years

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▷▷filme completo 15h17 - Trem para Paris - [Filme Completo Legendado] DUBLADO ONLINE Em Portugese

Watching a film that is 15h17 - Trem para Paris and we must appreciate ||15h17 - Trem para Paris FILME ||15h17 - Trem para Paris ONLINE

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15h17 - Trem para Paris filme completo dublado: 8 de março de 2018 / 1h 34min / Drama, Suspense Direção: Clint Eastwood Elenco: Spencer Stone, Anthony Sadler, Alek Skarlatos Nacionalidade EUA

Título original: The 15:17 to Paris Distribuidor: WARNER BROS.

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avevigo · 6 years

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#Mark Moogalian Hero of France

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scottbcrowley2 · 7 years

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Review: ‘15:17 to Paris’ doesn’t live up to thrilling true story - Thu, 08 Feb 2018 PST

In the summer of 2015, three young American men from Sacramento, Calif., boarded a train in Amsterdam, en route to Paris, while enjoying a time-honored rite of passage: a European backpacking trip. In Brussels, another young man boarded the train, with a backpack full of guns and 300 rounds of ammunition. After tussling with American teacher Mark Moogalian and shooting him in the neck, he found himself in a car with a trio of young Americans filled up with youthful bravado, military training and a desire to not die lying down. What other heady combination could inspire a person to tackle a shirtless man cocking an AK-47 in a confined space? Review: ‘15:17 to Paris’ doesn’t live up to thrilling true story - Thu, 08 Feb 2018 PST

#Spokesman.com: Latest stories #Review: ‘15:17 to Paris’ doesn’t live up to thrilling true story - Th

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bestmovies0 · 7 years

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How Clint Eastwoods Movies Devolved into Jingoistic Garbage

Clint Eastwood is a living legend. He’s iconic as relevant actors and as a director; he’s the Man with No Epithet, he’s Harry Callahan, and he’s responsible for Unforgiven and The Bridges of Madison County . You’d never are well aware that by watching his latest cinema, The 15:17 to Paris .

In the twilight of his career, Eastwood has leaned into a strange, flagrant various kinds of jingoism that is difficult to reconcile with his earlier operate. Unforgiven , for example, was a wonder, deconstructing both the Western genre as well as Eastwood’s career and popular image, and even Eastwood’s more explicitly politically-geared operate has left chamber for more subtlety than his egregiously one-note recreation of the 2015 Thalys develop onslaught.

As with most campaign movies, Flags of Our Fathers could easily have fallen into propaganda, but it’s a remarkably frank interrogation of the effects and politics of campaign. More importantly, it’s partnered with Letters from Iwo Jima , the rare American movie that takes a look at war from the resisting side. As such, it’s all the stranger to find a poster for Letters from Iwo Jima pop up as determine garb in The 15:17 to Paris , which, despite objective with President Francois Hollande’s speech about the importance of humanity over nationality or tenet, does not share that same sentiment for anyone who isn’t American.

The 15:17 to Paris presents a picture of America that threatens to tip-off into outright caricature. As children, Spencer Stone, Anthony Sadler, and Alek Skarlatos are considered garmented in camouflage, playing “war” with model AK-4 7s and other firearms. The young Stone even proves off a shotgun, and is incredulous when the young Sadler says he’s never been hunting before. Though it’s arguably the modern equivalent of playing” Cowboys and Indians ,” it’s still unsettling to see children toting assault rifles and shooting at one another, especially as gun control and violence remain such a huge problem in contemporary America.

” This isn’t a film celebrating humanity; it’s a film celebrating a very concrete take on American values and culture .” div > div>

Eastwood has always been fascinated with Americana–that is, America as part and parcel with the uglier parts of its history. The Western, after all, is a genre inextricably linked to a part of the country’s history that many seem intent to forget. The same runs for any tale that touches upon modern warfare, as this movie does( Stone and Skarlatos were both members of the U.S. Armed Forces ), but that doesn’t seem to have intersected Eastwood’s mind. These Americans are touched by destiny–Skarlatos’ mom( played by Jenna Fischer) tells him that God told her that something exciting is waiting in his future, and Stone waxes philosophical about where he supposes his life is heading–and that’s that.

Even the flawed American Sniper a more complicated look at American machismo and so-called patriotism. The cinema, which told the story of Chris Kyle( played by Bradley Cooper ), was criticized for casting Kyle in a heroic daylight. In the memoir from which the film was adapted, Kyle boasted about how many “savages” he’d killed while in Iraq and viewed war as a competition, trying to score more kills than his peers. He likewise exaggerated his military record and told a number of tall tale, including: moving to New Orleans and shooting as many as thirty looters in the aftermath of Hurricane Katrina from atop the Superdome, punching out Jesse Ventura after he smeared the SEALs, and killing two carjackers who attempted to steal his truck. None of these things happened.

Others, nonetheless, argued that American Sniper em> had a different agenda, seeing it as an exploration of the” moral intricacies” of war. Writing about the film for The Atlantic , Megan Garber questioned taking Kyle’s acts at face value.” Is[ what he’s doing] gallantry? Does it matter? This is one problem American Sniper recommends, with a culture that insists on treating’ the troops’ as an anonymous collective: If everyone is a hero, then, heroes being what they are , nobody is .”

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There are instants throughout The 15:17 to Paris em> that almost invite a similar dissection. The poster for Letters from Iwo Jima is on Stone’s bedroom wall, accompanied by a poster for Full Metal Jacket and an American flag. Full Metal Jacket is a film about the pointlessness of conflict, and Letters from Iwo Jima is a study in its intricacy. It’s seducing to take these as knowing references, but Eastwood’s more recent jobs( including American Sniper ) suggest that might not be the case.

The empathy and identification found in Letters from Iwo Jima is gone from The 15:17 to Paris . The countries that the three leads-in pass across are practically anonymous, as is the film’s portraying of gunman Ayoub El-Khazzani( played by Ray Corasani ). El-Khazzani is mainly seen in fragments. We understand his shoes, his hands, his shoulders, but we’re almost never proven his face. If this anonymity is an attempt to preserve its appreciation of realism given that the three contributes play themselves, it’s too little, too late. Apart from Fischer, Judy Greer, Thomas Lennon, Tony Hale, and Jaleel White also make appearances in the movie. They’re too immediately recognizable to ignore, and on top of that, they act circles around Stone, Sadler, and Skarlatos( who, it should be noted, are not to blame for this failed strive at stunt casting ).

The others involved in the Thalys strike –” Damien A .,” Mark Moogalian, and Chris Norman–are also largely nonentities. Simply Moogalian, who also plays himself but has received far less media attention, is referred to by epithet, and it’s a move that feels slightly disingenuous as he is the other American to participate in the incident. Damien was French, Norman was British, and both are barely ascertained. This isn’t a film celebrating humanity; it’s a film celebrating a very specific take on American values and culture.

Look, it’s impossible to dismiss Eastwood’s work dedicated its breadth and emotional heft. Sully , which was released in 2016, was a proper return to kind after American Sniper , but it feels like an exception rather than the relevant rules now that it’s been followed by the dead on advent 15:17 to Paris . With its overstated, empty patriotism and mundanity, it remembers his rambling appearing at the 2012 Republican National Convention( you are familiar with, the infamous empty chair speech ). It’s a shame, because as Letters from Iwo Jima demonstrated, he’s a filmmaker capable of much better.

Read more: https :// www.thedailybeast.com/ how-clint-eastwoods-movies-devolved-into-jingoistic-garbage

from https://bestmovies.fun/2018/02/12/how-clint-eastwoods-movies-devolved-into-jingoistic-garbage/

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rollingstonemag · 7 years

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Un nouvel article a été publié sur https://www.rollingstone.fr/15h17-paris-eastwood-prend-voie-de-garage/

"Le 15h17 pour Paris" : Eastwood prend la voie de garage

Retrouvez la chronique de Le 15h17 pour Paris, le dernier film de Clint Eastwood, basé sur les évènements survenus dans le Thalys le 21 août 2015

Le 21 août 2015, trois Américains de Sacramento – Spencer Stone, Anthony Sadler et Alek Skarlatos – étaient en vacances en Europe. L’infirmier de l’armée de l’air, le garde national de l’Oregon et l’étudiant universitaire de l’État de Sacramento, respectivement, ont quitté Amsterdam ensemble et embarqué dans le Thalys de 15h17 pour Paris. Ayoub El Khazzani, un terroriste d’origine marocaine, était également à bord ; il était armé d’un fusil d’assaut AK-47, d’un pistolet Luger de 9 mm, d’un cutter, d’un marteau, d’essence et d’un sac à dos contenant suffisamment de munitions pour blesser plus de 500 passagers. Peu de temps après avoir quitté les toilettes de la première classe, Khazzani sort torse nu, tire sur un passager et s’enfonce plus profondément dans le train, où Stone chargera. Heureusement, l’AK-47 de son agresseur s’est coincé – mais le tireur a quand même tranché l’arrière de son cou avec le cutter. Avec l’aide de Sadler et Skarlatos, qui se servent de l’arme de l’homme pour l’assommer, un bain de sang fut évité de justesse. Le Président de la République François Hollande leur décerne la Légion d’honneur. Le président Obama les a félicités et applaudis pour leur bravoure. À leur retour aux États-Unis, ils ont été accueillis comme des héros et le réalisateur Clint Eastwood a décidé de raconter leur histoire. Des étoiles? Qui en a besoin?!? Le cinéaste chevronné est allé loin – certains diraient trop loin – en faisant appel à Stone, Sadler et Skarlatos pour qu’ils jouent leurs propres rôles. Ces trois hommes connaissaient intimement leur propre vie. Mais pourraient-ils les jouer? C’est un geste courageux de la part de Dirty Harry – le genre de chose pour laquelle nous aimons Eastwood. On aurait adoré dire que la légende du cinéma, qui aura 88 ans en mai, l’a fait avec brio.

Ce n’est pas le cas. L’incident dans le train dure environ deux minutes, et Eastwood réussit à rendre l’instant particulièrement tendu. Le seul problème ? Il reste 92 minutes à remplir. D’où les flashbacks sur la vie de ces héros, deux d’entre eux élevés par des mères célibataires et tous fréquentant un collège chrétien. Les pros Jenna Fischer et Judy Greer jouent les mamans ; Tony Hale de Veep se présente comme leur professeur de gym. Mais le fait demeure : les trois hommes n’avaient jamais joué auparavant. (En interview, les trois hommes ont évoqué ceux qu’ils auraient aimé voir dans leur peau : Sadler pensait à Zac Efron, Skarlatos voulait Michael B. Jordan et Stone, hors des sentiers battus, espérait Denzel Washington. Si seulement cela avait pu se faire.)

Sans que ce soit de leur faute – ils ont au moins le mérite d’essayer – ces non-pros ne peuvent tout simplement pas rendre le film crédible. Ils reçoivent peu d’aide de la scénariste Dorothy Blyskal, qui adapte le récit publié par les hommes de leur expérience dans The 15:17 to Paris: The True Story of a Terrorist, a Train and Three American Heroes with a dispiriting flatness. Montrer à quel point l’héroïsme américain à l’ancienne peut surgir d’un comportement ordinaire, l’idée sonne bien en théorie. Mais à l’écran, le film tombe à côté, offrant des plans du voyage des garçons dans les bars, les boîtes de nuit et les attractions touristiques européennes jusqu’à ce qu’ils soient confrontés au destin. Eastwood insère des aperçus rapides de l’action se passant dans train, mais il ne peut pas empêcher le film de tourner au ralenti.

Pourtant, cela pouvait se passer autrement. Aucune chance de connaître la vie des autres personnes dans le train – comme Mark Moogalian, qui a reçu une blessure par balle au cou… Ou l’homme d’affaires anglais Chris Norman, qui grâce à son sens de l’improvisation et avec un câble et une cravate, a réussi à maîtriser Khazzani. Et qu’en est-il de la période de réajustement post-traumatique, que Eastwood a si bien gérée dans American Sniper et Flags of Our Fathers ?

Plus frustrant encore, le scénario présente Khazzani comme un méchant en carton, l’étranger tellement plus facile à rejeter. Le livre, écrit avec le journaliste Jeffrey E. Stern, crée un drame fascinant en suivant le jeune homme et les événements qui ont conduit à sa radicalisation. Il n’y a rien de tout ça ici. Ce qui reste, c’est un hommage émouvant à trois Américains dont le courage sous les tirs est incontestable, qui ont réussi à faire face à la peur et à transformer une catastrophe potentielle en une mission de sauvetage sans victimes. Mais le film complexe qui aurait pu l’être est encore sur la planche à dessin, nous taquinant d’une histoire plus profonde.

Peter Travers

#chronique #cinéma #clint eastwood #françois hollande

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