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Capo-idFilm

दिस॰ 2002 को शामिल हुए
नई प्रोफ़ाइल में आपका स्वागत है
हमारे अपडेट अभी भी डेवलप हो रहे हैं. हालांकि प्रोफ़ाइलका पिछला संस्करण अब उपलब्ध नहीं है, हम सक्रिय रूप से सुधारों पर काम कर रहे हैं, और कुछ अनुपलब्ध सुविधाएं जल्द ही वापस आ जाएंगी! उनकी वापसी के लिए हमारे साथ बने रहें। इस बीच, रेटिंग विश्लेषण अभी भी हमारे iOS और Android ऐप्स पर उपलब्ध है, जो प्रोफ़ाइल पेज पर पाया जाता है. वर्ष और शैली के अनुसार अपने रेटिंग वितरण (ओं) को देखने के लिए, कृपया हमारा नया हेल्प गाइड देखें.

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समीक्षाएं18

Capo-idFilmकी रेटिंग
The Social Network

The Social Network

7.8
  • 28 अक्टू॰ 2010
  • Engaging but not profound

    The Social Network's promotional tag line reads, "You don't get to 500 million friends without making a few enemies". As a matter of fact, the narrative seems to suggest, you don't get a site as global or profitable as Facebook without some serious big-money investment. Indeed, without the flashy business bluffing of Sean Parker (Justin Timberlake), thefacebook.com remains the popular but unendurable dream-that-never-was of Havard friends and co-founders Mark Zuckerberg and Eduardo Saverin (Andrew Garfield).

    This point is significant: the raison d'être for the film, both in story and narrative terms has its very seeds in the gem of Facebook itself. The very nature of this story is governed by its necessary pace: it's arguable that Facebook could only become the site that it now is by expanding so rapidly that it could beat any other would-be competitors and meeting the profit demands of short-term capital. This would preclude Saverin and Zuckerberg making it alone, and thus in turn making it at all – and so, since their final decision to sue is because of Facebook's international success, Cameron and Tyler Winklevoss (both played by Armie Hammer) would never have sought compensation from Zuckerberg for violations of their intellectual property.

    This is the quiet tragedy at the heart of Fincher's film. But if this is inherent in the material, the director doesn't stress it. From the outset, there's that contradiction familiar to all of Fincher's films: a certain level of interest in the material as it presents itself to him, but a careful, deliberate detachment from it on his own part. This means that even if Fincher knows how to stage a scene and his directorial style is consistently immaculate, his work as a whole is uneven; when the script is formidable, you get something like Zodiac (2007), when patchy, something like The Curious Case of Benjamin Button (2008).

    Fincher's latest film presents its world in a matter-of-fact manner, and in doing so creates an apparently authentic sense of life at one of the world's most elitist institutions. In having events unfold mostly through Zuckerberg's viewpoint, though, Sorkin's script lacks the critical emphasis required of Fincher to make a genuinely provocative film that reaches beyond the betrayal of friendship between Zuckerberg and Saverin.

    More at idfilm.blogspot.com
    This Is England '86

    This Is England '86

    8.3
  • 28 सित॰ 2010
  • Vacant drama

    The father/son element took on contemporary resonance in the earlier work: its exposition made clear that Shaun was fatherless due to his father being killed whilst serving in the Falklands War, and though grossly misguided, Combo's anti-war rant to Shaun provokes a great anger and frustration in the youngster because of its essential truths – that the war itself was being fought under false pretences, fed to tame the same working classes that Margaret Thatcher had openly waged war on. The film's release, at a time in which the UK was once again involved in an escalating imperialist war – this time in both Iraq and Afghanistan – gave it an extra political edge.

    This material, even in the hands of a limited cinematic storyteller such as Shane Meadows, proved quite powerful at points. Meadows himself apparently saw much further potential in the work: "When I finished This Is England, I had a wealth of material and unused ideas that I felt very keen to take further," he said in August 2009. "Not only did I want to take the story of the gang broader and deeper, I also saw in the experiences of the young in 1986 many resonances to now – recession, lack of jobs, sense of the world at a turning point. Whereas the film told part of the story, the TV serial will tell the rest." Though these sentiments ring true for the film, the mini-series, we should say before anything else, is a mostly vacant work, with no significant attention paid to a recession, to unemployment, to a sense of political and social upheaval. If the central relationship between Combo and Shaun offered a potentially rich examination of political disillusionment amongst the young in both the England of the Eighties and of the present day, its television follow-up, co-scripted with Meadows by Jack Thorne, makes an industry out of fashionable miserablism, forced humour and a moral viewpoint that can only be described as confused at best.

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    साज़िशों का शहर

    साज़िशों का शहर

    7.5
  • 23 सित॰ 2010
  • Good ol' cops and robbers no-nonsense genre film

    A fast, post-HEAT genre vehicle that substitutes the glossy sea-view apartments and wide highways common to this sort of thriller with a more downbeat, old neighbourhood feel (bank robbing is a 'profession' passed down through generations), with narrow one-way streets that hinder any getaway truck and community buildings long in need of grants and refurbishment. If it's heart is in the right place – one can see its intentions firmly written on its sleeve – it settles too often on old-fashioned motion-turning: even the 'moral ambiguity' of the cops and robbers dynamic has point-of-view on its side, and Affleck is too keen on playing the good-guy villain. Scenes between him and Rebecca Hall are driven by shorthand superficiality: personal past parental problems stand in for genuine character depth; John Hamm seems to be on board only to test his big-screen potential. That said, it's an often involving entry into the heist genre that handles its material with much commitment and not much pretension.

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